La finestra di fronte

What a rich and satisfying film this is! The complexity of lives interweaving, with a transformative impact is a rare experience in this medium.

Life is full of chance meetings...often ignored...but in this film it is pivotal. A young couple, having serious relational problems, come upon a dazed old man on the street. His entrance in their lives, his own dramatic life and the wife's (Giovanna's) ultimate connection to him serves as a link to her profound choices...First, to risk a sexual encounter with the handsome neighbor she's watched through her facing windows and second, to recognize that her discontent has been with herself, more than her loving husband. The complexity of the old man's life...his survival of a concentration camp...giving up a beloved lover to save others...his success as a famous pastry chef...all contribute in a tangential way to Giovanna's transformation. The final scene is enormously moving and meaningful.

Don't miss this gem...if humanism, great performances and cinematic richness are important to you.

An Italian movie that starts as a pleasant but otherwise unremarkable tale of a nine year old marriage and an old man wandering the streets with no memory and a pocketful of money. We are drawn in by the rather lovable (if all too human and imperfect) characters until, half way through, the film explodes with moments of real beauty, passion and tenderness. The cinematography deftly weaves flashbacks and fleeting glances from within the minds of the main characters, their memories merging seamlessly for a few moments with the real life around them. The script contains gems that you want to remember.

Italian star Giovanna Mezzogiorno is superb as the wife who seems to be locked in a constant struggle with her husband and attracted to the man in the apartment facing theirs. But Facing Window proves to be far more than melodrama triangle: echoes of the Nazi holocaust and the inner strength to realize one's true feelings, as well as one's true calling ... 'it isn't enough to dream about a better life, you must demand it.' For those who like something more substantial to their cinema than popcorn and nachos, Facing Window fits the bill with effortless grace.

"You must demand to live in a better world... Don't be content to merely survive."

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The warm colors, lovely performances, textured messages and thoughtful ideas that are layered throughout Ferzan Ozpetek's 'Facing Windows' will make you cherish cinema just a little bit more than you already do. It's a romantic treasure about unrequited love, familial responsibility, sexual longing and following the path in life that makes you happiest. The notion that you can really love someone else only when you've learned to love yourself may be a familiar one, but it is nice to be reminded every now and then. 'Facing Windows' is about all those things and the realization that the memories of those who truly touch our hearts can inspire us to live better lives.

Giovanna (Giovanna Mezzogiorno) and her husband Filippo (Filippo Nigro) have settled into life. They both have jobs that make them unhappy. She works as an accountant. He works the graveyard shift because he is too weak to ask his boss for a daytime slot. They argue about money, sex, time and work... There is a subtle sense that this is a marriage whose love is dwindling fast. Perhaps they are only going through the motions for the sake of their kids.

One morning, the two of them are walking home and cross paths with an elderly man (Massimo Girotti). He is utterly disoriented and has lost his memory. And despite Giovanna's protests, Filippo brings him back to their home for the night so that he can take him to the police the next morning in the hopes of unraveling the mystery. As complications ensue, that one night stretches to a few days. The old man experiences strange episodes, flashbacks of sorts, that reveal clues to his mysterious past. His actions lead to a meeting between Giovanna and Lorenzo (Raoul Bova). Lorenzo lives across the street from Giovanna and their apartment windows face each other. The sexual tension between the two is quite palpable as they have both been secretly watching and lusting after each other from their dimly lit windows.

Giovanna and Lorenzo's instant friendship swiftly moves to flirtation and then to a passionate kiss. However, Lorenzo's job is transferring him to another city very soon and Giovanna is put in an awkward spot having to make a very quick decision. Her heart tells her she should act on her feelings. Her mind tells her to be responsible. Nevertheless, the two of them puzzle over the mystery of the old man as they try to come to terms with their feelings for one another.

The beauty of this film is the way in which it balances many layers of story and character. Everyone in the film has something interesting happening in their lives and it all seems to revolve around the influence of the old man. These days, we are lucky if films give us one thing to think about, let alone many things. 'Facing Windows' (aka La Finestra di Fronte) is delightfully stimulating for both mind and heart.

I have to point out the performances in this film. 'Facing Windows' swept the David di Donatello Awards (Italian Oscars) for good reason. The film is brilliant but the performances are spectacular. Giovanna Mezzogiorno has vaulted straight to the top of my list of favorite actresses with her role here and in 2002's lovely film 'The Last Kiss' (L'Ultimo Bacio). She is the most dramatic actress I think I have ever seen, able to combine genuine fragility with a toughness and intensity that will give you goose-bumps. She has the most cinematically beautiful face I think I've seen and a talent that is remarkably rare. In just two films, she has earned my trust entirely... I will be first in line to see anything else she does.

Massimo Girotti is equally powerful as the mysterious old man. He is able to convey every necessary emotion in this tricky role. This was to be Girotti's final role before passing in 2003. It is a performance you won't soon forget.

Raoul Bova and Filippo Nigro are great in the secondary roles and round out one of the best ensemble casts of 2004.

'Facing Windows' is one of those aesthetically marvelous Italian films that sounds as great as it looks. It is fun and surprising, unpredictable and touching. Giovanna Mezzogiorno is a special actress who is fast becoming one of Europe's biggest stars. You will be seeing a lot more from her in the next two decades. I cannot recommend a film much more than this one.

I highly recommend you seek this film out in theatres because it can take forever for these foreign gems to hit DVD (Sometimes up to 2 years). 'Facing Windows' will vie for a slot in my year end top ten list and deserves your time and money. Make an effort to find this great Italian film!

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TC Candler - Critical Mass Movies - www.tccandler.com

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"Facing Windows" 2003 is a very thoughtful, gentle Italian film telling us how frustrating human conditions of the heart can be transformed by one another.

Giovanna Mezzogiorno (also in "Don't Tell" aka Beast of the Heart) plays Giovanna the central 'heroine' - a young woman with plenty of mixed emotions, who is discontented with her (chicken factory accountant) job, mother to two children, wife to a husband who's night shift job schedule frustrates her, and most of time she shouts at him and wouldn't want to listen - yes, she's quite bitchy about herself, though finds brief solace when doing bit of occasional baking. Through the course of meeting the unexpected stranger that Massimo Girotti portrayed - Simone/Davide the old man at a lost, who seems to have amnesiac problem and was temporarily taken in by Giovanna's husband into their home against her wishes, yet her whole world starts to change. Writer-director Ferzan Ozpetek has a way of telling his stories, always full of humanity, foibles and virtues mixed together, turning out a thoughtful film never short of gentleness and the sharing of human kindness.

There are side events, of course: the young man whom she now and then noticed across her kitchen window in the next building, the flashbacks and 'Déjà Vu' storyline that the old man Simone experiences, the delightful turn of events - those attractive delicious-looking display of cakes and cakes - what a baker's dream!

Filmmaker Ozpetek, who was born in Turkey and lived in Italy, includes poetry in his films: he introduced Turkish poet Nâz1m Hikmet through his characters in "His Secret Life." Here, we get to hear Giovanna thinking aloud, talking to Davide: " I feel your gestures in mine, and I recognize you when you speak. Does everyone who leaves you - always leave part of themselves with you? Is this the secret of having memories?"

The cast is just wonderful, of course, Mezzogiorno and Girotti were fascinating to watch. The music by Andrea Guerra complemented the cinematography by Gianfilippo Corticelli. If you'd like more of Ozpetek's work, try "Hamam: A Turkish Bath" 1998 (my first IMDb review posted on 10 January 1999) and "His Secret Life" aka The Ignorant Fairies, 2001.

I very much appreciated Ozpetek's previous film, "Le fate ignoranti", which has earned him a lot of respect on the part of both audiences and critics, in Italy and beyond. I was reluctant to go see this film because of the casting of Raoul Bova (a second-rate actor who doesn't have much substance behind his good looks and began his career as a teenage heartthrob - what a pity it didn't end there) and because of the reference to the Nazi deportation of Roman Jews, which took place on October 16th, 1943 - I just felt that to use this as a pretext for a gay love story was kind of cheap. But nearly everyone I knew who had gone see the film kept me telling that it was good, so I became so curious that I decided to go. Well, my friends were absolutely right.

Ozpetek's strength is his ability to portray characters that are realistic without being obvious, so everyone can relate to them without identifying with them. He showed that already good ability in "Le fate ignoranti" as well, but this time he seems to have developed it even further. His approach is always personal, and this enables him to make films that are deeply introspective. It is the kind of films that the French are usually good at making, but Ozpetek in not an imitator. What makes his films so DIFFERENT is that there seems an emotional involvement that is very difficult to find elsewhere; at the same time, this never translates into trite sentimentalism or dull rhetoric.

This is an outstanding film, and this is so also thanks to the performances given by most of the actors. Massimo Girotti, in his last appearance before his death, shows that, at about 80 years of age, he was still able to be a first-class actor (and this explains why he featured in so many films by Visconti); after this film, which is dedicated to him, we will all miss him even more than we already did. Giovanna Mezzogiorno, the daughter of a late actor herself, also gives an outstanding performance as the woman who finds herself at the crossroads and is torn between passion and the responsibilities of everyday life, between reality and desire, just like so many of us often are. Filippo Nigro, who also featured in a minor role in "Le fate ignoranti", is given a more important role in this film, and deservedly so. The only exception is Raoul Bova, and I wonder why Ozpetek seems to have a compelling need to cast "actors" who are more sort of toy boys, mostly in secondary roles (Bova in this case, Gabriel Garko in "Le fate ignoranti"), who usually have very limited acting abilities and who almost inevitably end up faring very poorly and suffering from the comparison that is inevitably drawn between their performances and those of the other actors who feature in the films; which is even more striking if we take into account the fact that Ozpetek seems to have the ability to rejuvenate actors and to make them play characters that are very different from their clichés (as an example, consider not only Massimo Girotti in this case, but also Margherita Buy in "le fate ignoranti").

Just one word for the soundtrack, which made the film even more touching and has spawned a major Italian chart hit.

The only criticism that can be made? How come that Italian directors seem to have lost the ability to say something about the society in which they live? In the past, they were able to be sardonic about it, and to intertwine the two levels, social and personal. Now the only films they seem able to make are personal-only stories, and that's a pity.

Altogether, a deeply recommended film.