La bestia nel cuore

The director has written 4 books and directed 7 films but this is her first film based on her own book. She said it has been a challenging task for her to direct this film because one has to betray the book while directing its film version. It has been a difficult task for her to cut out many written in her book.

In general, it's a well-done film about many unusual relationships: family relationships (including father-daughter, mother-daughter, father-son, mother-son, brother-sister relationships) involved in pedophilia, lesbian relationship, co-cohabiting couple relationship in an adultery, divorced couple relationship in an adultery. Exactly because of such a wide angle about relationships, the core element about victims/survivors of pedophilia has been dealt lightly but conscientiously.

Very good acting from the supporting actresses Angela Finocchiaro and Stefania Rocca. The acting of Giovanna Mezzogiorno is less natural. The anxiety she delivers in this film is not that of being in a pedophilia victim-hood, but more of that of her impersonal and emotionless involvement.

Two scenes I found unnecessary in the film. One is the (imagined) kissing scene of Emilia and Sabina. Enough evidence has been given (though later) suggesting Emilia is a lesbian, so no need of showing this scene. Another disturbing scene is when Franco was watching Sabina playing with his children. I found it redundant to show the detailed scene of Sabina's conversation with the children.

In addition, the plot is well-linked through narrating all correspondences (letters and emails) between the protagonists. A neat idea.

This film was an amateur job at best. I would have expected more than a melo-dramatic soap opera to tell the story of such a sensitive subject. I've seen more talented first time directors and writers do a whole hell of a lot better then these seasoned soap workers. A pity certain scenes were interesting and somewhat well done had no leg to stand on, hence they seemed comical in their brief moments and then certain scenes in their flailing over stated tragedy were completely worthy of only a snicker and a wave of embarrassment for the filmmakers to write and direct such a cliché and stereotypical portrayal of...well...Everything AND Everyone! SHAME on the Oscar committee for nominating THIS film for Best Foreign Film...what kind of Judges does that committee have??? Ex Soap stars? We need to maintain SOME kind of level of excellence to recognize great ability to truly create work worthy of Oscar nominations next to the likes of our greatest filmmakers and entertainment talent of intelligence, skill and creativity, not amateur soap "workers". Please. Movie of the week maybe....but an Oscar Nomination? Because it was made in Italy. WAKE UP!! HELLO!!

Congratulations on this film being one of the five nominated by the Academy Awards for best Foreign Language Film. I saw this at the 2006 Palm Springs International Film Festival and I ranked it #5 of the 35 films I saw. This is a very good film with excellent acting with a strong cast and some very strong and interesting story characters. Great leading actress with a splendid supporting cast. Emilia, Maria and the director are three very interesting characters that really bring the film together. I would be interested in reading Cristina Comenici's novel if it is available in English translation. I would also recommend her film "La Bestia Nel Cuore" ("Don't Tell" English language title which should actually translate to the Beast in the Heart) and give it a 8.5 out of a possible 10.

Cristina Comencini is the daughter of legendary Italian director Luigi Comencini, one of the makers of the Italian comedy from the Fifties to the Seventies. Cristina is an established director as well -she's also an appreciated writer. Her films are very different from the features of her father -either they're more dramatical or contain a less hilarious comedy.

"La bestia nel cuore" means "The beast in the heart" in English. The film is based on a book written by Cristina Comencini herself.

Sabina (Giovanna Mezzogiorno), a dubbing actress, wants to see again her brother Daniele (Luigi Lo Cascio) -who works in America as a Universitiy teacher. They both share a terrible experience: when they were child they were abused by their father.

This horrible experience is like a beast in the heart because it's impossible to recover from. They search for truth and try to elaborate it. In this film there are other characters with painful situations. Emilia (Stefania Rocca) is a blind woman friend of Sabina, she's lesbian; Maria (Angela Finocchiaro) is a 50 year old woman who faces the fact of having been left by her husband for a very very young girl. These people too have a beast in their heart.

The film is dramatical, of course, but the atmosphere is not heavy at all -there are also moments in which we can laugh. So the film doesn't go in only one direction.

There are a lot of reflection hints, it's not an easy film -because we all have bigger or smaller beasts in ourselves...-. But you don't go out of the cinema depressed and sad, not at all. There's a message of hope.

The film his a high quality movie, with excellent actors. Giovanna Mezzogiorno won a price at the last Venice Film Festival: she deserved it because she acts very well. She's dramatical but in a believable way -she doesn't put too much emphasis and pathos in the role. A real actress.

This uncomfortable psychological drama does not get as much mileage as it should due to unnecessary subplot's that overstay their welcome by the time the third act finally ends. Nonetheless, lead Giovanna Mezzogiorno gives an engaging tour into the quiet torment that begins to seep back into her mind once a family death sets the film in motion. Marred by it's overachieved Oscar nominee, this is still a worthwhile experience into old cobwebs of the mind, highlighted by it's eerie past-sequence cinematography, but distracted and offset by the underdeveloped, sometimes silly "supporting" characters. As the final scene faded, I was painfully reminded of the powerful themes this film has to offer, and hope amongst much filler their purpose is not lost on an unengaged audience.