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Performances are entirely deadpan, as no one seems to be in on any of the jokes, which of course only makes everything funnier. Juan plays Lee with an open heart, trying to make sense of every crazy situation he finds himself in, but having very little luck. At times he can't even recall his name, let alone whose side of a fight he's on. But Juan manages to also bring out his soul, which means that we are hugely invested in him and his connections.

The surrounding cast is also excellent as people oblivious to his condition. A lot of humour stems from this, because everyone is shocked that a top detective has gone this rogue. But because his inner compass seems to still be accurate, he is able to spot what's truly important in each situation, something a seasoned detective might not always see. So amid the wackiness, the film becomes not only a reminder to take care of our emotional selves, but also to truly see who people are around us.

themes, language, violence

7.Sep.26 vff

Borsei plays Diane as unapologetic, refusing to put up with even the nicest man who inadvertently says something awkward. And her blunt sense of humour catches people off guard. So conversations take wild trajectories, such as her extended encounter with a cyclist (Meister) who needs a lift, then keeps turning up at just the wrong time. The people around her are equally quirky, which adds layers of interest everywhere. And big confrontation between Diane and her mother is powerfully well-played.

Generational feelings create intriguing ripples throughout the story, with children, parents and grandparents who have distinct reactions. Diane sometimes thinks that she is jinxed, oblivious to the fact that she brings all of this mayhem on herself. Even so, while she is certainly an agent of chaos, she also has a way of bringing people together. And she learns that even when she has dark thoughts, she should keep an eye out for something beautiful.

themes, language, sexuality

5.Sep.26

With the camera weaving among the tangle of characters, performances feel huge, especially as Scalera gives Angela soulful eyes and a scowling mouth. Her disdain for everyone is so vivid that it's impossible to like her, even if she's sometimes intentionally hilarious. It's also unsurprising that she has no relationship at all with any of her family members, and yet she's sad that her older daughter refused to come. They are all played as much more likeable and sympathetic.

Because it's set entirely in Anto and Benedetta's apartment, the film often feels like a play with camerawork that puts us on-stage with the actors. Perhaps you need to be from Naples to truly understand the bonds between these family members, because it's hard to imagine anyone putting up with this kind of cruelty from people who supposedly love them. Frankly, there's no excuse for this kind of vile behaviour, so it's hopeful to see that some traditions die out as generations pass.

themes, language, violence

26.Aug.26