Cannes Film Festival by Nanni Moretti – Deadline

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Grief rises to the exclusion of everything else in Three floors (Tre Piani), a decade-long tale of the continuing woes of several families residing in a comfortable Roman apartment complex.

From the opening scene, writer-director Nanni Moretti, adapting a best-selling novel by Israeli writer Eshkol Nevo, chose to focus solely on the woes and regrettable incidents of those years, an approach which, oddly and Melodramatically, the game stacks up in a way that feels forced and unrealistic. This overbalance of an emphasis on the negative, rather than all things in life, works to the detriment of the film, ultimately making it appear not to be true to life.

This unfortunate accent undermines many solid dramatic scenes and the more than capable actors, both venerable and fresh. Moretti, who has been to Cannes numerous times and won the Palme d’Or 20 years ago for The son’s room, certainly knows how to create strong and unsettling moods. But the ubiquitous fear and unhappiness becomes so redundant and tiresome that it becomes difficult to know how much it is trying to make. Whatever the intention, it seems rigged.

The opening scene cheaply pits death against birth. The first is caused by the wayward teenage son of prominent judge Vittorio (Moretti), as the heavily influenced youth savagely returns home to his upscale neighborhood at night and kills a woman. The unrepentant child assumes that his father can fix things for him and get him out, but Vittorio will have none, believing that the noxious punk is worth the trouble he incurs.

Less convincing is a story involving Monica (Alba Rohrwacher), a heavily pregnant woman who witnessed the fatal accident and eventually begins to suspect child abuse by an older couple watching over the baby.

‘Three floors’

After that, Moretti’s adaptation turns into more ordinary melodrama and family issues, which are dealt with in a conventional one-note way. Moretti’s sense of humor rarely surfaces as a general gloom descends on the debates as he crosses the decade.

The most nauseating and convincing subsequent interlude involves a very serious transgression, in which a normally fastidious stepfather, Lucio (Ricardo Scamarcio), who has a 7-year-old daughter, succumbs to the lure of a good-teenage girl. , Charlotte (Denise Tantiucci), recorded footage in surprisingly vivid detail. None of this can end well for anyone.

Despite the radical structure of it all, there isn’t much of a sense of the passing of time, with characters developing, changing, or maturing in interesting ways. Current events do not enter into the discussion in any meaningful way. Life goes on, with people moving forward, spoiling their legacy of mistakes, apprehensions, heartache and have to live with themselves. You never get deeply involved in the characters, the tone is relatively monotonous and the absence of any mention of world events to frame things keeps everything rather one-dimensional.

It’s a disappointing outing all around.


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