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In a better world

The director Bier's Dogme-style seems increasingly detached from the earliest times, though retaining use of the camera by hand, which denotes a mastery not overly affected and an end in itself, but the film itself exudes an attempt to reflect on the violence in our daily lives, which is likely as the macro-themes of life not to be treated with due attention paid and it is difficult to say what might be the right ones, well chosen items that make a film not rhetorical or misleading.

There are hints of rawness and truth that we are given with clarity and sincerity of the children from each of the characters, which the latter seem to arise as a counter idealistic and focused than all'istintività adolescence, but then director seems to take to prove that nothing is as simple as it seems, is not always able to be consistent all the way and this is what happens in a territory in which the imagery of war and poverty is fertile ground and too obvious to state the their arguments or thesis.

It thus remains doubtful in the face of a movie like this, whose basic message is ambiguous in its moral, if there is a moral and seems to see in a final disturbing in its conciliatory tone easily.

The film could have worked better if he had known and otherwise maintain its focus on the underlying drama boys, realistic and hard real focal point in its depiction of a youth not as accommodating as their blind teachers, but perhaps the director wanted give a sign of hope to a reality that often is not as rosy and we are surprised that sometimes, again, may be provided, but the cinema is another thing, there sometimes punch in the stomach, if not an end in itself and pleased, when properly positioned, it is definitely a result visually and narratively more effective than many unspoken thesis or confusing as in this case, in which the ambiguity this time there is violence, but in asking the question whether it is possible to do without it.

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Product decidedly unusual new film with Anthony Albanian. Difficult to fit and pigeonhole for lovers of clear and precise definition of genres, which need understanding and awareness of what is comforting is not known and appears to be a certain thing and then look different from what it was thought, in short, any, as the adverb same title that gives the film seems to remember. The work

Manfredonia, but for more of the same Albanian Antonio, is a whole and no narrative, produced comedy is not that much comedy, film apparently a complaint, but not so that the choice of registry implemented by authorities and 'actor, perhaps the subject visually present, but at the same time out of time because it probably exceeded by the reality that purports to represent, that vein with the grotesque, parody and sometimes naively, one might say, speckles.

Film surprising, perhaps, at times as chilling for a man who represents the use of methods of intimidation makes no secret and indeed blatantly reveals, showing key paroxysmal and tragicomic situations belonging che ben conosciamo e che nel dibattito televisivo e letterario nazionale sono assurte a contrasto addirittura politico e intellettuale, soprattutto quando si richiama alla mente Gomorra   e il suo autore nonché tutto ciò che da esso ne è derivato , seppur questa sia ben altra storia e regione, ma intanto tutto è riconducibile ad un unico elemento magmatico di riflessione e/o derisione, nel bene e nel male del pressapochismo in cui spesso si ricade.

Il film è stato selezionato dal Festival di Berlino e viene lecito domandarsi, quanto il pubblico internazionale sarà in grado di percepire di questo prodotto, che un fondo di amarezza ce l'ha, nonostante l'apparente As comedy, despite the character created by Albanian itself has become an Icon of evil and sickness of our own, a sort of exasperated and exasperating figure, a scapegoat or apotropaic figure in turn to drive away from our minds the idea that we can get to be so petty and mediocre. Perhaps the end will remain the stereotype image of our country, reproposed the events and political figures of our recent times, at least for the way they show certain habits and customs.

Yet as the same Albanian stated in his campaign rally in the transmission of Fazio and Saviano Come away with me, "we are the fiction and he is the reality." By now, we ourselves are actually immersed in an imaginary part of which we are and what we produce and fantasize, through writing or the comic invention, is destined to become ever more real and overwhelming.

This film is deceptively comic, able to capture a wide audience fascinated by the figure of La Cetto Whatever you do, but what actually aware of what is excessive and represents us with that use of adverbs?

Albanian / Cetto winks with his election manifesto, in reality movie posters, which includes specific political messages, even paradoxical, that they are between that reality and fiction that you said above and making it difficult to assess at the end of the operation and that only time will tell if they are capable of effectively representing a cross-section or a well-defined portrait of our time or any time, but perhaps, I dare say, not so strong as to impress in our imagination, because what is actually possible to stay in our minds will be the same character and not the story itself, because functional and tangential icon Cetto The matter, which lives its own life, outside and above all without the film itself in which you want circoncludere.