First of all, I'm a French speaking Indian living in France and I'm very passionate about cinema, I'm saying because I don't understand any Italian word in this film. I've just followed the film with the subtitles and I was speechless. The theme of the movie is something very unique and not everyone could held the megaphone easily other than Moretti. I liked very much the story, the screenplay, the lighting, the DOP, the cuts and everything... I liked so much the performance of The mother, the daughter and the son, the grand daughter, the actor. They were fabulous in each <more>
scene. They don't act but they react for the situation and so the film was very much realistic.I would recommend this film for everybody! : happy to see a good movie like this...
The Italian movie Mia Madre 2015 was shown in the U.S. with its original title. It was co-written and directed by Nanni Moretti. It stars Margherita Buy as movie director Margherita. Margherita is directing a film in which noted U.S. actor Barry Huggins John Turturro is the protagonist. Margherita's mother Ada is portrayed by Giulia Lazzarina. Director Moretti has cast himself in the supporting role of Giovanni, Margherita's brother.Margherita has problems that come from many directions. Her mother is dying--that's really the crux of the plot. She and her brother do their best <more>
for her, but it's a slow, downhill battle. Margherita breaks up with a long-time lover, her daughter from her marriage is having trouble in school, and Barry Huggins is a self-centered jerk. Huggins is a star, and he acts like one. In the movie, he speaks Italian well, which may be true in real life as well. I got the sense in the movie that he was a celebrity, but not as great a celebrity as he would like to be. In any event, he is making Margherita's life miserable.Margherita can't just drop everything to be with her mother. She has a film to direct, and it's not going well. She's in an impossible bind.Director Moretti gave himself an important supporting role. In fact, the one fault I found with Mia Madre was that Moretti has a long scene with his boss that makes no sense in the context of the film. However, that small self-indulgence is negligible compared to all the great moments Moretti gives us.Turturro is brilliant. His job is to make everyone--including the audience--dislike him. He does that wonderfully. Margherita Buy is an absolutely brilliant actor. Her emotions are at the surface, and her face portrays each emotion with unbelievable precision. She is the Italian Meryl Streep . Or Meryl Streep is the American Margherita Buy. Even if this weren't a great movie, it would be worth seeing just to watch Margherita Buy act. However, it truly is a great movie, and I highly recommend it.This is one of the rare films that shows three generations of women, all of whom are strong and intelligent. That's another reason to watch Mia Madre.We saw this film at the acclaimed Dryden Theatre in the George Eastman Museum in Rochester. I don't know if it will go into general release. It's certainly worth seeking out. Every movie is better seen on the large screen than the small screen, but Mia Madre will work well on a small screen. For reasons I don't understand, Mia Madre has a modest 6.9 IMDb rating. This is one of those situations where I say, "Did those people see the same movie I saw?" Find it, watch it, and then judge for yourself.
Would a film about personal loss put you off? If the answer is no, absolutely watch this: it's great. It's not by chance that Cahier de Cinema awarded it the title of best film of 2015. Forget the complacency and "faciloneria" of so much of Italian cinema: Mia Madre is a very deep film which gets its emotional tone bang on the money: it's sad, but not without a sense of humour; it's heartfelt, but never maudlin. The exactitude of some moments is breathtaking: the dream-like scene of the queue in front of the movie theatre, for example, about revisiting memories, and <more>
about personal identity, gives me goosebumps each time I see it. The tragedy and triviality of existence, the passing of time, human relationships -- everything is focused through the imperfect, but revealing, lens of the middle age crisis of the protagonist. Eventually we get to understand and love her, her difficult juggling of many personas, her honesty. This is a movie set and made in Italy but it's truly European in quality and tone. If you can get past the seriousness of the theme, I promise you you won't get bored for one single scene. I am glad we have Nanni Moretti, he's truly a national treasure.
Moretti tells a heart-wrenching story without using overly dramatic tones, and builds around it other story lines, which all share the theme of people coming to terms with reality. The main storyline is really moving and real, and I could totally relate to it - what I like about this film is that it is autobiographical, but you do not need to be a world-famous film director to relate to it. Through Margherita, Moretti at times will fearlessly show you the everyday routine details of both his professional and personal life, totally demystifying his world-famous-film-director persona. I really <more>
liked Margherita Buy's acting; John Turturro has a very difficult role to play, because he must continually switch between acting and meta-acting, also switching between English and Italian, but he pulls it off nicely. The last 10 seconds of this movie are the perfect ending.
When was the last time you heard a great last line in a movie? So great it made you burst into tears? The final line in "Mia Madre" is not a brilliant sentence in itself. Then again, is "rosebud" profound in itself? But in context – the way it references an earlier conversation in the film, as well as sums up the theme of the movie, and most importantly creates a definitive and meaningful end to the story and endings are always difficult, even for the best filmmakers , in that way, this was an enormously powerful and stirring end – probably the best final line to a <more>
movie that anyone will hear in this 53rd New York Film Festival. And it literally made me cry out loud.Basically, this is a story about a woman whose mother is dying. But, don't imagine grim or depressing. Those Italians, they understand Sorrowful Life and Comical Death in ways that Americans just do not. It's like writer/director Nanni Moretti "The Son's Room" is tapping into an ancient source of pure emotion. And he does it so gracefully. The film is gently, deeply astute. The lyricism in the language adds to the effect; Italian is such an elegant language. It's all part of this organic sensation that comes from the film – this gorgeous feeling that grows out of my stomach and blooms in my chest.In conversation after the screening, Moretti actually says that he wants the audience to feel that the movie is digging inside of them. That's exactly what I felt. Or, I felt the movie carving into me. As I watched, I felt like I was being sculpted. I felt as if a great master, Michelangelo, was carefully cutting, chiseling into me, and so he – the sculptor, the director, the writer – is making us – the audience – into his magnificent carved creation. And in that way, Moretti is elevating us with his talent, his vision. He is making us sublime.Except it really wasn't "us." It was just me alone and that movie. It was so intimate. I start off watching the movie from outside and thinking about it – thinking I will "review" it, and then I am in the movie. I am living it. It is living me. I am not audience observing a film; we are involved in each other in some palpable way. It's almost physical – like I can literally feel it touching me. It brings me to life in an odd way; I can feel my heart inside my body.Of course, the death of a parent is a universal experience, but this film manages to make it feel uniquely personal. I feel as if this director has been watching me in my life, with my family, and is now explaining myself to me. Although, I suspect it's an explanation that will feel relevant or resonant to nearly every adult. Perhaps the film score helps me to feel so fully enthralled – a variety of music from Leonard Cohen, Philip Glass, Nino Rota, and Arvo Part.Other critics may focus on the story that binds the film's emotions together. The lead character played with glorious subtlety by Margherita Buy is an Italian filmmaker who is shooting a movie while her mother is dying in a hospital. Actually, this is a semi- autobiographical film in that Mortetti had his mother die while he was shooting a previous film. However, I think that fact is more significant to the personal life of Moretti than to the body of this film; having an experience and elevating that experience to an art form are two very different things.In this movie, the story functions to bring in the outside world and its pressing realities and complexities. The specifics of what job the central character has are mostly inconsequential. Although, it is worth noting that the character's persistent and diligent return to the stress of her work environment, after each vigil beside her dying mother, shows that life goes on.But the story also functions by bringing smartly implemented humor. John Tuturro plays an American who is a hilariously bad actor in the film that our lead is trying to make. Tuturro's approach is broad and exuberant, which is startling in this otherwise quiet movie, and ultimately Tuturro's excited approach not only works but becomes essential to Moretti's message. I am laughing, I am crying, I am laughing, I am crying I am exalted.Another running joke in the film is when our protagonist director repeatedly tells her actors to "be the character you are playing at the same time as you stand outside the character." No one understands this instruction, and finally the director herself admits that she doesn't know what she means. But I see this as appropriately consistent with my unusual experience of the film; I am both standing outside it, watching, and in it, experiencing.Fundamentally, this is a story about emotion. It's an exploration of humanity. It is life and death – beautiful and heartbreaking, devastating and inspiring. It was excruciating to watch a scene where our lead character is stripped naked and exposed metaphorically ; she's made vulnerable and cut to shreds – destroyed. Then, she goes and sits silently beside her dying mother, and that gives her new life. It revives her. It saves her. Death is breathing life while life is killing her.In the press conference, Moretti is talking, with his lovely Italian accent, and I hear "love erupts in solitude." I don't even know what that means, but I totally feel it. I leave the theater feeling newly alive.
Woman director faces mother's death (by maurice_yacowar)
In My Mother director Nanni Moretti examines three generations of women as they attempt to find their identities and make their lives. The title emphasizes the grandmother, as her heart weakens and she loses hold on her mind and body. Her teaching Latin stressed the discipline of structure — in a sentence, hence in life — but she also knew when to cut loose and dance with her students. One remembers that she taught them life as well as Latin. In another Latin lesson, she urges a nuanced sensitivity to verbs. Nouns are easy enough, the given, but what counts is what we do, the verbs, the <more>
actions that we choose to define us and our lives. Her granddaughter is a teenager just adopting the Latin discipline. She is already negotiating her relationships with her divorced parents. When she gets her scooter she learns that riding it requires care but also a loosening up and a leaning in. It's an emblem of the balance she needs to move along in life — as granny balanced discipline with dance. For want of that discipline, the girl's school term was ruined by a heartbreaking love. The central character is the girl's mother, Margherita, a film director trying to make a labour drama while dealing with her mother's decay and death. An ex-lover actor says that she's too insensitive to others and too willful to get along. Her problem lies in the instruction she gives her actors: "Play the actor as well as the role." The actors don't understand that and she admits she doesn't either. A director normally asks a director for total immersion in the character. But in her life Margherita lives detached from others. That's why her two relationships ended, why she didn't know about her daughter's heartbreak, why she only now learns what values and esteem her mother commanded. In contrast to these three strong women are two weak men. John Turturro plays the comic butt, an American actor whose ego dwarfs his abilities and record. As he struggles with the language and the lines he's a caricature of playing the actor instead of the role. Director Moratti himself plays Margherita's brother, embodying the ineffectuality usually ascribed to the women in a male-cantered drama. The devoted son takes a leave of absence from his job, then quits it altogether, despite being warned how hard it will be for a man his age to find another. Driven to fulfil the noun, devoted son, he withdraws from the constructive and responsible verbs or actions, leaving himself helpless. The last word of the film is Margherita's memory of her mother saying "Tomorrow," when asked what she's thinking. Her daughter and granddaughter have learned from her how to face the future. Her son backed away.
Nanni Moretti may not be everybody's cup of tea, but his relevance cannot be denied. Very few artists has been so constantly present, so honestly faithful to themselves, and at the same time so careful in portraying the evolution of Italian society in the last decades. You put together the twelve movies Moretti has done in his forty years of activity and you get a perfect course in history of this country. It is not strange, then, that his latest movie looks like an attempt to portray confusion and uncertainty. As almost always, the story is based on personal experience from Moretti. In <more>
the past he has made movies about growing up and getting older Caro Diario , movies about having a son Aprile , and now he is sharing with the audience his reflections about the recent loss of his mother, frequently mentioned – and, once, even featured – in his works.The story is about a director trying to complete a movie set in the contemporary scenario of economic crisis, focused on the loss of jobs in an Italian factory after the purchase of the compound from a USA investor. But the director cannot concentrate on the movie, as her old mother is dying in a hospital. There is a big difference between the main story the death of the mother , which is told in a solemn and painfully slow way, and the story in the story the script of the director's movie , whose lines and situations are formulaic, simple to the edge of stupidity "Shit", as John Turturro says honestly in a moment of rage . Losing your mother is something that everybody's know is coming, sooner or later, but this doesn't mean you can be prepared: and in front of this terribly huge moment, everything else seems silly and preposterous.The overall acting effort is really something to appreciate: Margherita Buy provides a complex, troubled counterpart for Moretti, who has limited himself to a supporting – yet important – role. John Turturro is the bright spot of the story: most of the situations where he is involved are really funny neurotic Turturro and anxious Margherita Buy are a comedy duo with potential . Giulia Lazzarini portrays the sick mother, her energies slowly fading, with sensibility and measure: a really moving performance. She is by far the emotional centerpiece of the whole movie: in a story where everybody else seems willing to quit everything relationships, day jobs, movie careers for lack of meaning, the frail and weakened character of the mother, still willing to teach Latin to his niece until her very last moment and breath, actually teaches through the deep relationships she has with her family, and even with her former students, the surprising strength of human boundaries and love.
Nanni Moretti is an accomplished filmmaker who won many awards as an actor, writer, director, producer across Europe for 4 decades, and a few in South America. He is a Cannes Film Festival favourite and won the 2015 Prize of the Ecumenical Jury with this fine film "Mia Madre" aka My Mother who was inspired partly by the recent death of his mother.It was thus with immense pleasure that I was able to attend his TIFF first screening in his presence with an interpreter even though his command of English is quite good especially understanding and hear first hand a few details from <more>
the master.First in terms of prizes, his 2001 film "La stanza del figlio" aka The Son's Room seems to be a contender for his masterpiece yet even though it is an extraordinary film, I can think of other films who dealt with the subject of losing a child much better, namely two in the same year with riveting "In the Bedroom" and even better Australian "Lantana", and later "Rabbit Hole 2010 " with Australian actress Nicole Kidman.For "Mia Madre", we explore the dying and death of a parent but this time, this movie sets itself apart. It is dark and light with humour, showing scenes with conflicted and strong characters with multiple layers, exploring emotional and intellectual depth. It weaves between multiple layers of reality and meta-reality, time, thoughts, dreams, desires. It goes beyond death, before, in between... It is beautiful!Moretti speaks of his inability to tell his actors to "be besides the character" as opposed to being completely immersed in them although that is what he would like to tell them. He feels too many acting awards go to people who become characters and lose themselves. He also mentions that he is closer to the distraught Margherita character played by marvellous Margherita Buy who is a accomplished actress to say the least than to the brother he plays in the film and wishes he had a better handle of the dying mother situation in real life. These small details show a level of maturity and complexity of thought with a crisp vision and appreciation. A non-assuming but assured wisdom can be felt from the man and the magnus opus I just saw.Margherita's character is a director like Moretti so the piece is self-reflective in many ways and involves an interplay of many realities, possibilities and problems to deal with at the same time. Then he brings John Turturro to play the role of Barry Huggins who is a now barely able to remember a line actor of old fame and prestige with a sharp tongue and Hollywood arrogance. This creates some comic relief and hilarious scenes but also serve to contrast the work problems with the life problems and the miscommunication and misunderstanding of everyone.The movie is a dream of sort, but a vivid one. Moretti's life distress gave us his Pièce de résistance.Thank you for sharing. Thank you for caring.Italy / France 2015 | 106 mins | Toronto International Film Festival | Italian English subtitles + some English
Nanni Moretti has come a long way portraying Italy - mixing the inner, often neurotic, workings of a person with the harsh clash of Reality. In this movie, reality itself is the world of fiction: Margherita Buy plays the director of a movie about the working crisis that has been tearing apart Italy's employment situation for years now. The set is a stressful environment which recalls the one described by Truffaut's "Day for Night" and adds to the emotional exhaustion of the director Buy, facing her mother's illness. Whereas "The Son's Room" found its <more>
characters coming to terms with loss as a matter of fact, this movie rather deals with the whole painful process that leads to loss: the slow steps that lead to the acknowledgement of what is inevitable. The soul-wrenching hospital scenes and the numerous flashbacks from Buy's family memories are cleverly and thankfully counterbalanced with the comedic, hilarious traits of John Turturro, the main star or better even, a proper "diva", in Buy's and subsequently, Moretti's movie. You'll found yourself cracking up with laughter while that small tear on your cheek hasn't dried yet, and both moments are filmed in a superb way. Nanni Moretti himself plays a role as Margherita Buy's brother: both actors have a similar style and it's great to finally see them working together. They both speak in an extremely calm manner, as if they were trying to explain some really obvious truth to the viewers and to other characters; both have a history of playing awkward, sometimes neurotic, fragile people who will eventually burst out, only to quickly apologize in their usual calm and polite manner. Those who are familiar with Moretti's work will recognize some of his motifs: Rome settings, loud singing in cars, deadpan statements on the inability to work in a relationship, parental confrontations. Overall a very good movie that fits well in Moretti's recent history.