O Melhor Está por Vir

In "The Sun of the Future," Nanni Moretti reinvents himself as a consummate filmmaker, expressing his views on the political world, streaming platforms, contemporary cinema, his personal life, and his relationship with his partner more forcefully than ever before. This astonishing Italian comedy delves into the critique of all these aspects through the film that the main character (played by Moretti) is filming.

Compared to "Dear Diary" (1993), which was more personal and, if I may say so, somewhat egocentric, "The Sun of the Future" stands out for being exceptionally political and romantic. This film perfects the autobiographical approach the director explored in his previous work.

The film serves as a starting point for an important debate about independent cinema and the strategies it must employ to survive in the streaming era. Moretti criticizes the current trend in which movies are expected to lay out their entire plot within the first two minutes, an illogical formula in his perspective and characteristic of the senseless surge of streaming in recent years.

Ultimately, "The Sun of the Future" is a work imbued with an underlying sentiment: love. Love is the driving force and the brake in the entire narrative, a crucial element that can change things for better or for worse.

I didn't like this movie at all. Perhaps this was a movie for die hard Moretti fans that saw all his movies? For me the story was very weak, the pace was utterly slow and clearly they should prohibit certain directors to act in their own movies. There were some nice shots and sure I could smile a few times. I guess a metafilm can work, but I couldn't relate to neither one of the stories and both of the stories were quite superficial and unexciting. In short: I agree with the reviewer of the gardian who writes: "I'm sure the future will be brightened by another, better Moretti film - this one is best forgotten."

#Cannes2023# A film by a white old male director that far exceeded my expectations. It can be considered as a self-reflection and self-deprecating work from the usually narcissistic Moretti. He directed and acted in a movie that explores his journey from denial to ultimately admitting his creative decline, the irrelevance of his themes (at least to a diminishing audience), his inability to work without his wife "assistant" and the growing resentment from his crew towards his mansplaining . In the end, he also concludes with a false sense of hope, summarizing it as a lament for the leftist movements of the 1950s and acknowledging his inability to find a good ending. This self-analysis and sincere display of vulnerability moved me. There are countless directors in their old ages who have run out of creative juices, but not many can be this candid. Additionally, there are Fellini-esque elements throughout the film, with circus motifs and ensemble dancing, adding a touch of delightful nostalgia. @ Cannes Cineum Aurore.

A film that's different from the usual, almost a metafilm into which other films are interwoven. Moretti talks to us about history, politics, love, violence, and physical decay. In some ways, it's also very autobiographical. Despite the many themes the director has inserted, everything flows smoothly towards an ending that leaves some threads of hope for the audience. I left the cinema feeling happy, despite everything. For this, I want to thank Moretti. At some point, it wasn't so obvious. The actors' performances were also great, especially those of Silvio Orlando and Margherita Buy, as well as Amalric's. In short, it's the usual Moretti film that never disappoints and I believe can be appreciated not only by an Italian audience but also an international one.

Nanni Moretti creates a game of interpretations of himself by building a double vision of satire such as split screen, one with his narrator's voice, and in the other criticisms, ironies, melancholies, professional successes and private failures. A film within a film from the '50s to bear witness to the decadence of politics, while Giovanni mismanages his marriage, jeopardizing the film produced by his wife Paola. Everything is resolved with red flags in a parade with famous actors, Jasmine Trinca to with Renato Carpentieri during the march in a revival of the ideologies of the time. Maria Pia.