Three floors, the film, as well as the novel by Eshkol Nevo from which they are born before the pandemic that has only exposed a lie. That is, that we could do without others, the community. For this reason, the milonga scene that passes under the building towards the end takes the characters out of these three floors: an invitation to open up to the world. Nanni Moretti returns to Cannes twenty years after the Palme d’Or with Son’s room. his eighth time, starting in 1978 with Ecce Drum, won best directing with Expensive daily, chaired the jury.
But different from the others. Because it arrives over a year late, with the edition skipped in 2020, because, for the first time the film (produced by Sacher and Fandango with Rai Cinema and Le Pacte, will be released by us on 23 September) here in preview. Because for the first time he relies on someone else’s subject. He comes back with a different film from the others, based on a novel (Three floors by Eshkol Nevo, published by Neri Pozza) which he adapted with Federica Pontremoli and Valia Santella. A choral story, transferred from Tel Aviv to a bourgeois neighborhood in Rome, built around three families living in the building: Dora and Vittorio, judges (he and Margherita Buy), Lucio and Sara (Riccardo Scamarcio and Elena Lietti), Monica and Giorgio (Alba Rohrwacher and Adriano Giannini).
Address universal themes like guilt, the consequences of our choices, justice, the responsibility of parenting. The characters, fragile and frightened, are driven by fears and obsessions, and often end up taking extreme actions. Little is said about what we will leave to our children in ethical and moral terms. Our actions are what we bequeath to those who come after us. Moretti has chosen a deliberately dry and gaunt tone for the film where one would look in vain for one of the dazzling jokes he has accustomed us to become catchphrases. It is the female characters who try to unblock things – she says – women are more open, they have healthier reactions. The male ones remain more firm, blocked, even encysted in their roles, between rigidity, obsessions, schematisms.
Contrary to what the Roman director showed through his Instagram. I am not satisfied with having announced my presence in Cannes with Mahmood’s background music, for the video chronicle of the arrival in Cannes on Saturday, the eve of the official preview, he chose Morandi & Jovanotti, The joy. The same one that won the ballot with respect to Money and che accompany the Steps Climb with its actors. A special day for Moretti in Cannes, also for sporting coincidences. What do you think? He makes you laugh. You have always generously attributed prophetic qualities to me. Four years ago when I started thinking about the film I already knew that on 11 July 2021 Italy would have beaten it on three levels: tennis, cinema and football. One of the reasons I made this film was that I had this vision.
July 11, 2021 (change July 11, 2021 | 19:11)
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