Thinking badly about others is a sin but often you guess right

(Giulio Andreotti)

Bellocchio starts from the end by proposing an outcome different from the news, so as not to give rise to misunderstandings. His umpteenth proposal for the Moro kidnapping, this time is clear: if the parliamentarian, statesman, professor of law had been released by the red brigades he would have resigned from the DC with a clear and unequivocal speech.

Two parts divided into three points of view: the public political one, dotted with secrets, mistrust, irresponsibility, more or less voluntary and treacherous non-compliance; the familiar, sober, intimate, private one; that of the red brigades with the choices, the events, the internal misunderstandings, the relationship with the kidnapped, between the criminality of the political and revolutionary times and the respect for dignity and faith.

The section dedicated to the Pope, then Paul VI together with the figure of Moro's wife through which the profiles and responsibilities of colleagues emerge clearly, friends/enemies/indifferent to the human aspect of the case, to the advantage of the unspeakable and unacceptable openness of the DC parliamentarian at 33 % of the communist electorate, are inevitably descriptive of everything that happened in those months although "any reference to existing people or to events that actually happened" would be "purely coincidental"

Six episodes for TV, at the cinema, first starts from 18 May, second from 9 June 2022.

An impeccable narration of restless years, where the exploitation of the facts exceeds their criminality.

On 16 March, precisely on the day of installation of a government supported by the communist party of which the president of the DC was the main supporter in the name of a presumptuously "naive" Catholic democracy, Aldo Moro was kidnapped and, after 50 days of imprisonment, amid requests, negotiations and misdeeds, he was killed " although the truly revolutionary gesture would have been to free him" at least according to Bellocchio's Faranda.

A regular visitor to the films of the director from Bobbio is the psychoanalyst's couch where Andreotti's psychopathology, Cossiga's bipolarity and the notorious honesty of Zaccagnini, so as to make him a figure capable of understanding but not of power.

The symbol of the Christian Democracy Party sees in the film's poster the cross covered in blood-red roses and the shield made of brambles and thorns . This would be enough to identify THE point of view but the invitation to retrace those years in Bellocchio's film is imperative and an unmissable opportunity.

Who doesn't want to let people know something , after all he doesn't have to confess it even to himself, because one must never leave traces.

(Giulio Andreotti)