The cycle co-organized with the Mostra de Valencia continues to cover the filmography of Nanni Moretti, one of the most coherent and personal of contemporary European cinema. Of Daily expensive fins a The sun of the future, his work traces an itinerary that combines autobiographical introspection and critical observation of contemporary Italy. In Daily expensive, Moretti builds a film diary that mixes humor, melancholy and reflection on the very act of filming. Its self-referential dimension is consolidated a April, in which the director explores the anxiety caused by his impending fatherhood and the political crisis in his country, in which Berlusconi is about to win the elections. This tension between the personal and the political cuts through, more or less directly, all his work.
A son's room Moretti moves away from the essay tone to explore grief with a sobriety that represents a turning point: pain replaces sarcasm, but the ethical look at human frailty persists. the alligator political criticism resumes, centered again in the figure of Berlusconi, through a meta-cinematographic game that exposes the impotence of the intellectual in the face of media power. This tension between powerlessness and responsibility reappears in We have the Pope, where a Pope in crisis embodies the moral paralysis of institutions, and in the commovedora My mother, in which fiction becomes a mirror of grief and the creative process.
three floors i The sun of the future they deepen the maturity of their gaze: the first addresses incommunicado and the weight of guilt in an atomized society; the second, which could be considered the closure of the trilogy opened by Daily expensive i April and a kind of filmic testament, it claims imagination as the last refuge in the face of political disenchantment and the loss of weight of culture in society. Com pose to manifest this retrospective, Moretti's work forms both an individual and a collective self-portrait, the chronicle of a country and a filmmaker who is obstinate to continue believing in the ethical and transformer potential of the cinema.
04.11.25 TUESDAY / 20.30 h
April
April
NANNI MORETTI. Italy, France. 1998. VOS SPANISH*. Color. 78′. 35 mm.
Int. Nanni Moretti, Silvio Orlando, Daniele Luchetti, Andrea Molaioli, Agata Apicella Moretti, Pietro Moretti, Silvia Nono.
About to become a parent, Nanni Moretti stands in front of the camera to build a kind of film diary that explores his difficulties in making a musical film and the anxiety caused by the crisis of the Italian left before the possible arrival of Silvio Berlusconi.
