Cristina Comencini tax has long been among the most significant authors of Italian cinema. The eye is often directed with intelligence and sensitivity to issues of famiglia.Ora with accents mild, between comedy and emotion - "Wedding", "Free the Fish," "The best day of my life" - now look strong and resentful, declared in the folds of the drama, "The Beast in the Heart." Today
does not stray from these themes, but with optics which deals with them also adds, with civilized effort, particular attention to a subject that we talk a lot even if the film is seldom involved in family areas, that of racism. Undramatic, almost thin with appeals to the play, starting, strong and resolute, to be a true love story.
We start with a couple in Rome, Carlo and Elena, with young children. He takes care of the computer, she runs a humanitarian organization for Africa, assisted by a Senegalese intellectual, who is also married with children. That's now his wife, Nadine, she meets Carlo. A game of looks, suspended moments, dominated long-awaited, suffered. Then the explosion, an overwhelming passion, emotional and sexual, that involves them both, though with great hesitation and a lot of guilt complexes. Uncovered, will hoist their spouses, with drastic sacrifices unions who obviously have not tested the rectum. There will also, for Charles is the same for Nadine, an attempt, suffered, to return to the fold, but will not last. That love has defeated them and not let you anymore.
course, there's also a lot of pain, by angry scenes, tears, accusations, but, around, and the race problem makes its appearance almost only suggestive, even in its accuracy of reporting, the love that rules over all is represented almost with levity, smoothing out the tears, they are still present, and privileges in the idea of \u200b\u200beven half a smile. Thanks also to a gallery of characters in appearance only smaller, two mothers, a father, friends of friends, each represented by its color and its mark, especially when it is between those that tend to bring out the problem of racism. Done, however, from a screenplay and a director who can also stay in the most delicate incised, then reflections from a drama that expresses them with thoughtful precision. Charles, resigned, submissive, passionate and painful but Fabio Volo, Elena, is not able to scream, but with high measure, Ambra Angiolini, Nadine is a sensitive Aïssa Maïga. Do not forget, however, background, the two mothers, Anna Bonaiuto and Katia Ricciarelli. Among the keys to the film.
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