Nostalgia it's a movie with Pierfrancesco Favino, Francesco Di Leva, Tommaso Ragno, Aurora Quattrocchi, Sofia Essaïdi Full cast. Directed by Mario Martone. Original title Nostalgia Genre Drama.
reviews
Review of
![Il Buio In Sala - Giuseppe Armellini]()
Il Buio In Sala - Giuseppe Armellini
Il Buio In Sala - Giuseppe Armellini
It was only my second Martone. The first, Capri-Revolution, left a strange impression on me, as interesting and particular in many ways as it was so full of things that it gave me the impression of not being able to keep them all together. Here, Nostalgia no , Nostalgia is a film that I loved completely and that I would be able to change very little about. Felice is a handsome 55-year-old (the usually spectacular Favino whose smiles and eyes always captivate me, damn him) who we see returning to Naples by plane. We'll find out later who has lived in Cairo for 40 years, having fled his hometown following an episode that will only come to light halfway through the film. His very elderly mother is still in Naples. And many, many memories. Among which is that of his friend of the heart, more than a brother, a friend who has now taken a very different path from his. Felice wants to meet him, at all costs. Martone talks (once again, as in his entire career) about his Naples and it would only be enough the one that makes the film great. We are in the Sanità district, one of the most popular and degraded neighborhoods in the city (despite the fact that they told me how, in reality, this district was born as a bourgeois and noble center). It is an "old" Naples, beautiful , made up of alleys, markets, murals. Especially in the very first minutes of the film Martone exploits his character to wander around these alleys and among these people (curious how Felice, probably only because of his clothing, is immediately taken as a "outside", for example seeing the waiter who asks him questions in English) immediately placing the viewer in a context as fascinating as it is "nervous" and "tight", a context in which Felice's character continually seems outside place. In reality Felice, and this is such an important aspect of the film that it almost creates a theme, feels completely at ease.
Read all
Review of
![Diego Cineriflessi]()
Diego Cineriflessi
Diego Cineriflessi
Mario Martone is one of the main Italian directors, he is invited to the most important international festivals despite his cinema being profoundly Italian, if not regional, and certainly not easily exportable (see Noi Crederiamo or Qui rido io). With Nostalgia he tries to convey a state of mind right from the choice of the title. By telling the story of a man who returns to his hometown after forty years, Martone tries to create a mood in which reality and memories mix seamlessly, but with people who have inevitably changed due to the environment and experiences. Different, more compact cinematographic format for memories, as if in some way memory obscured their truthfulness, sweetened the content for a difficult focus. Because Nostalgia is a dark film, with a protagonist who wanders silently through the dark alleys of the Sanità district of Naples, one of the most dangerous, more or less consciously looking for his alter ego, his nemesis. There is a lot, perhaps even too much, in this work, with a beautiful initial part in which Martone gives us a touching scene between a son and a mother, a sort of Pietà with reversed characters in a dry and essential photograph. Touching. There is the Camorra, there is the relationship with faith and the Church, there is the search for one's roots despite everything, there is youth and mature age. It was in competition at Cannes where, however, it did not collect nothing Nostalgia is a good film which however suffers from two essential points: the inevitability of the development of the plot (which unfortunately makes it blatantly predictable) and the excessive coldness of Martone's style. It's probably a problem for the writer, but the Neapolitan director's style has always seemed uninvolving to me. Still a film worth seeing.
Read all
Review of
![Giacomo Pescatore]()
Giacomo Pescatore
Giacomo Pescatore
Let me start by saying that I would also see Favino reciting the shopping list, I found this film very beautiful. A dry film in the script, in the acting and in the direction, through which Martone once again (and once again well) tells of Naples seen from below, narrating the return of a man who, after forty years, feels the very strong call of his house and to come to terms with his personal history: the consequences, obviously, must be left to the viewer to discover.
Read all
Review of
![Ignazio Venzano]()
Ignazio Venzano
Ignazio Venzano
Although I am not a fan of director Martone, I recognize that I have seen a "powerful" film in the overall impotence of the story, which certainly does not make you want to go and live in Naples, much less in the Sanità district. What emerges in the story is the desire for a return (after 40 years of voluntary exile), the awakening of long-dormant memories, the commitment of a priest and his church to an honest life, the difficulty of freeing oneself from the evil committed in youth . Themes that mixed together make you think. Even if these are hardly things that happen in real life, they certainly can happen, and probably in the Naples that we don't really know they still happen. The film does not propose decisive solutions, and is not even, in itself, a denunciation. It's a cold and impartial story, acted really well, and which is difficult to distract yourself from.
Read all
plot
Felice returns to his native Rione Sanità in Naples to look after his dying mother, having lived abroad for the last forty years. Here he discovers that his old friend Oreste has become a notorious crimeboss.