I migliori giorni

It is a comedy, an italian movie about the ordinary life. Ther are 4 episode, one for four festivities. The Xmas part evolves during the traditional dinner, in Italy a very important event to spend with the family, and the family is a foundation for us. And this episode is very well acted. The second is very low level, centered on New Year's. The last two, Valentine's and women days are interesting, so the final results is to be considered valid, maybe without the New Year's part the movie would be a lot better and also not too dispersive, but at the end it remain interesting and worth the ticket.

I Migliori Giorni, the new anthology film directed by Edoardo Leo and Massimiliano Bruno, presents itself as an unflinching mirror reflecting the harsh reality of human connections during the holidays. Despite the promising cast of well-known actors, the final result falls somewhere between bittersweet comedy and a depiction of everyday hypocrisies. In this mosaic of four episodes, the film explores family, social, and romantic dynamics, focusing on Christmas, New Year's Eve, Valentine's Day, and International Women's Day. While the stories are well-written, they sometimes lack the depth needed to leave a lasting impact. The first episode, centered around family divisions regarding vaccination, offers a sharp and timely glimpse into society. However, the tone falters towards the end, missing the opportunity to further delve into the raised issues. The second episode, which delves into the hypocrisy of an entrepreneur seeking moral redemption, presents an intriguing premise but loses itself in a plot without a meaningful conclusion. The third episode, set on Valentine's Day, attempts to explore polyamory and fidelity but ends up falling into clichés and predictable situations. Finally, the last episode, focused on International Women's Day and the condemnation of misogynistic TV programming, offers a positive note, but even here, the ending feels overly optimistic, missing the chance to delve deeper into the raised themes. The film's strength lies in the performances of the actors, particularly in the trio of siblings played by Edoardo Leo, Anna Foglietta, and Massimiliano Bruno. Their chemistry and authenticity bring a touch of humanity to the stories, although at times the dialogue feels overly dramatic. The direction by Leo and Bruno, while competent, shows some uncertainties in handling the endings of the episodes, which tend to deflate rather than conclude decisively. The soundtrack effectively underscores the different atmospheres but at times feels intrusive, overshadowing the actors' performances. I Migliori Giorni offers an interesting and at times touching glimpse into human nature, but the final result fails to shine as one might expect from such a talented cast. The film may be enjoyable for the general audience, but it leaves a slight sense of dissatisfaction for those expecting a deeper reflection on current social dynamics.

Dangerous appointments with friends and relatives that inflame the psychological dynamics of those who have always kept silent about the truth about the value of their emotional ties. The directors Edoardo Leo and Massimiliano Bruno retrace the authorial success of the film Perfect Strangers by Paolo Genovese in four stops (episodes). The two hours and 5 minutes of this journey were at times disrupted with scenarios already seen, and the travelers, each with a different destination, all had the same face of resignation, weariness and impatience with social systems as all commuters. By Maria Pia.