Le dîner

This film is no small feat, by most criteria. There is not one scene, one piece of dialogue that doesn't work perfectly in its own right and in relation to the broader context of the movie. All characters are solidly conceived and utterly believable, and the flawless, well-measured acting of the WHOLE cast render them authentic and charismatic.

Depicting simply a night at a traditional Italian restaurant, the movie doesn't have a major unifying plot. It never needed one in the first place. The situations particular to each group of characters, to each table, are more than enough to keep the audience following the action flow through the place. The viewer's attention is held at peak throughout the whole movie, from beginning to end, which is a very rare and amazing achievement for any film. Even more amazing a feat it is for a movie which happens in one single place, with no more than a restaurant's few facilities for the action to spread.

As a whole, 'La Cena' showcases an intriguing and thoughtful, yet pleasant rendition of people's dilemmas, joys and relationships, contrary to the perception that "art" movies are tiresome, intellectual, self-indulgent exercises. This film potraits the beauty and poetry of life and human nature (corny, but nonetheless true), as masterfully as few but the European cinema masters can. A great example of the Italian tradition of moviemaking, ten out of ten, no doubt about it.

And on top of everything else, aren't there ugly, charmless women in Italy? Madonna mia!

It's one of the best movies I have ever seen! Impressive! What can someone do with a small budget but with great imagination. The hole action is flowing naturally.

Only 12 votes before mine? How could it be? Well, the movie is really one of the best I've ever seen. Scola directs his actors just like a great orchestra, keeping the action always in the same place, and following it almost in real time (I mean, 2 hours of movie to describe 2 hours in the life of the characters). So the film make you see an evening in the life of different people (with their stories, their problems, their loves), that have nothing in common one with each other but the place they're in, a restaurant. And all this is shown with a look that's funny and sad at the same time. A great construction of the director, supported by a gorgeous cast!

I was amazed after the very five minutes. this is not the kind of movie for people who don't care about others or those who are selfish and self-centered I'm sure that people would hate this piece of art, you'll see a whole world inside of few lives. the wise, the magic in every character, some jokes, problems, lies, some fantasy... its just hard to describe. I was eating popcorn and thinking when finally that waiter will take my order. if you have a child's-like imagination, or just you were in some hide small family "restorante" in Italia you'll maybe lived this movie. its perfect for those days when you feel like the world sucks

9.8/10

The current score of this film (6.7) certainly does no justice to it and is indicative of what years of Hollywood-made movies does to what one expects from a movie.

This film does not have a coherent story, it does not take the viewer from point A to point B and thus does not offer any real "character advancement" or real "scenario". I believe the lack of those things causes the condemnation of most viewers since to most a "film" is a "story".

Well, Scola shows that it ain't necessarily so. This film could best be described as a series of "pictures" of characters and their situations. By taking us from table to table and shifting our attention from one to the next, he manages to portray the great deal of diversity of possible human positions/conditions/situations. The hall of the restaurant becomes a mosaic of people from all corners of the social structure and they have all kinds of fears, aspirations, hopes, sexual interests, political or financial anxieties, doubts or troubles.

Scola uses maestrically the twists of his characters moods and their dialogue in order to occasionally insert his own social or political comments, thus giving more substance to the film. He does so without showing that he wants to do so however, and the remarks might easily be passed by the uninterested or the uninitiated totally unnoticed.

The human conditions depicted in the film although presented in a light manner are no joke: The increasing distancing of a mother from her adolescent daughter, the illegitimate love between a professor and his student, the anxiety and lack of self assessment of a bank clerk, the anger of a grown-up daughter towards her supposedly un-loving father (and many more) are all deeply touching human conditions which Scola presents with a soft, warm, and at the same time lively manner.

The "gist" of the film is that by constantly moving from table to table and from situation to situation he slowly takes us through the collective proceeding of the "solution" or every case -either positive, negative or neutral- and when the film ends, you feel an undeniable sense of closure, of communication, of warmth, of collectiveness, of life. Scola makes us feel like we were sitting together with his characters, on their tables, and makes us understand what is the true meaning of sitting around a table with other people. It is the explanation of the "symposium" as one of the characters explains, too, in the film and Scola explains it in the most humane, warm and caring manner.

This film is nothing less than a masterpiece.