Maurizio73

The 31 year old Daphne Vitale leads a free and unruly life: the day at work in a pub with a boss who besieges her with tender discretion, the night free for South London between alcohol, drugs and casual sex. His apparent sentimental indolence masks the anguish for the illness of a mother with whom he has a conflictive relationship and an emotional fragility that struggles to accept. A dramatic and unexpected event requires a moment of inevitable reflection and gradual change. The existential vocation drama with a strong social footprint is one of the most predictable qualities of independent cinema, forced to navigate between cash crunches and an authorial figure with the need to cash in at the first opportunity. If this is true for the already well-established Indie cinema of overseas (with more and more frequent concessions in the manner), it seems as desirable for that of a homeland of emerging directors who take advantage of a tax discount of a quarter of the taxation for a budget of which at least 10% spent within the borders of Her Majesty's Kingdom. Considerations inevitable, especially in times of Brexit, even for the debut Peter Mackie Burns who on one hand engages with the existential discomfort of a generation of many precariousness and that navigates to view and on the other with the need to make ends meet accounts of a talent immediately redeemable in the main festival festivals. The operation seems to have succeeded, at least in part, because of a register of captivating realism and calculated musical counterpoints as for the cute and sulky face of a handsome thirty-year-old redhead of a Sicilian father, who remains hooked from beginning to end along the daily wanderings in search of a self that pretends not to see reflected every morning in front of the mirror. The Anglo-Texan Emily Beecham holds very well the game (and the scene) fielding the fleeting lightness of the aquatic nymph dear to Apollo, in the inebriating dribbling of a love disengagement as a desperate attempt to escape an emotional responsibility with which it will be called to confront oneself in the inevitable predestination of an unexpected event: the aufbruch of a sudden rupture in the placid course of an indolent existence and which is a prelude to the geschehen of a forced restart. Unlike the emptiness of values ​​and the tragic nemesis faced by the tawny Keaton of Looking for Mr. Goodbar, the protagonist of this intimate drama from Southwark seems to know what he does not want but is definitely more afraid of what he wants (l 'concern for the health of a Buddhist mother who refuses the anticancer therapies, the sentimental commitment with a boy who does not take advantage of his hasty sexual availability and who looks at it with different eyes) and for whom the gradual awareness of an emotional gap it will be dictated both by chance and by a lightness of having become unsustainable. All according to script, in short, including the edifying picture of a human and social solidity relived in the domestic psychodrama of heroic behavior in favor of an industrious and warm North African immigration formed family that hardly chews English but knows the priceless human values ​​of hospitality and gratitude; Going home will be a person who has found a different reason for living at the sound of a Ba-ba-ba-ba by LouReed & Velvet Underground. Emily Beecham crowned best actress both in the sunny summer of the Edinburgh International Film Festival and in the winter frost of the Torino Film Festival 2017.