The Inner Cage

Film - 2021

7,6

147.2K

The Inner Cage it's a movie with Silvio Orlando, Toni Servillo, Fabrizio Ferracane, Salvatore Striano Full cast. Directed by Leonardo Di Costanzo. Original title Ariaferma, runtime 117 minutes. Genre Drama.

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On the eve of the closure of a prison, the director informs her collaborators that some inmates cannot be transferred immediately, due to some bureaucratic impediments. Therefore, they must remain "suspended" for a few days, awaiting the transfer order and, naturally, some prison guards must also remain with them. In this climate of waiting, Leonardo Di Costanzo's film develops, which uses a limited environment like prison to talk about relationships between people. Yes, because the clear distinction that appears to those who see this relationship between guard and thief from the outside disappears in this forced regime. Those who are theoretically free, like policemen, have the obligation to remain in prison, like criminals behind bars. Only a few small differences make it clear who is one and who is the other: the policemen have the keys to the doors, they eat first, they raise their voices every now and then, while the prisoners take small satisfactions, such as some disobedience to orders and even a hunger strike. But the real difference lies in one's thoughts, in the lightness of those who do their duty and sleep peacefully and in the heaviness of those who recognize their mistakes and do not give themselves peace. Or he would like to make up for it, perhaps by comforting his companions or trying to establish a human relationship even with his jailers. The performance of the actors, all in part, convinces both with the most famous (Toni Servillo and Silvio Orlando) and with the "supporting actors" , restoring a humanity that few places in the world can reveal like prison. Read all

Review of

Il Buio In Sala - Giuseppe Armellini

I meet Leonardo Di Costanzo again after about 10 years. Director with an unusual career, first film well over 50 years old and only 4 feature films in total. I saw his first work, L'Intervallo, and the memory - beautiful - is still strong. Very sweet film , intimate, as if suspended in time (after all, the title also recalls this temporal suspension) which tells of the forced afternoon coexistence between two peers, in a very old abandoned building. She did something that the town bosses didn't like, he, an extraordinary boy, he has to stay there to "control" her for a few hours. Ten years later I find myself with Di Costanzo with a film that seems completely different but, upon closer inspection, has gigantic points in common with Intervallo. Meanwhile, the location, the destroyed building of the former, the old and decrepit nineteenth-century prison of the latter. (With the peculiarity, among other things, of the unity of place for both films.) And then the presence of only two protagonists, even if in a case we have two single people (a girl and a boy), in the other two sides, the guards and the prisoners. Wanting to force the similarity we could also say that in The Interval we still had a "prisoner" - her - and a very good one and " involuntary" guard, him. Both films then tell of "an emergency" which leads the two parties to have to spend time together, unable to leave. In Ariaferma the emergency is given by the news that some prisoners - 13 if I'm not mistaken - they cannot be transferred to the prison where they were destined. The transfer is due to the definitive closure of the prison protagonist of the film, a very old, destroyed, dilapidated structure. All the prisoners must therefore leave but for those 13 there is a bureaucratic hitch ( or logistical, I don't remember) that cannot make them move. So, for a time that was supposed to be just one night and will instead become indeterminate (almost Godot-like) guards and prisoners will have to live together in that structure, all gathered Read all

plot

A prison drama where an old mobster and a prison guard must find a way to coexist so that imprisonment can become less so, and perhaps reveal the paradox that is behind the very concept of captivity.