Dir.: Duccio Chiarini; Cast: Daniele Parisi, Sylvia d’Amico, Mivia Marigliano, Sergio Peirattini, Daniele Natali, Thony, Anna Bellato; Italy 2018, 93 min.

Duccio Chiarini’s portrait of Italian middle-class malaise is familiar all over Western Europe. Thirtysomethings show a depressing lack of commitment – particularly the men. What starts as a romcom rapidly dives into melancholy meditation on modern life.

We meet wannabe write and occasional substitute teacher Guido (Parisi), naked between the legs of his girl friend Chiara (d’Amico). Clearly copulation has taken place, and Guido is looking for the burst condom. After finding it, Guido votes they should go for a baby, rather than the ‘morning after’ pill – knowing full well that Chiara is opposed to the idea: ”I have to have done something with my life before having a child”. And it’s true, neither of them has a good job, despite Chiara’s two MAs, her stint as a tour guide, and Guido’s book on Calvino, which is still waiting for publication. Nothing seems to work in their relationship either: the car is broken down, but there’s no money to repair it. And Guido’s mother (Marigliano) is still buying his underwear, as Chiara points out, although he’s pushing forty. Chiara is considering a decent offer in Canada but is unsure how to broach the topic.  And this is the beginning of the end of their relationship, because Guido suspects that Chiara is seeing another man.

The focus then changes to Guido, who becomes the hero: sofa-surfing with his parents and various friends, and stalking Chiara in the meantime. His mates aren’t faring any better. Dario (Natali) has fallen in love with another woman and is about to leave girl friend Roberta (Thony), a cardiologist. “We met via Tinder”, is Dario’s lame excuse, telling Guido to have a look at Chiara’s emails. Pietro and the pregnant Lucia (Bellato), are more negative than happy about their baby, and Lucia is competing with Guido for a literary grant. This is modern life, according to Guido’s mother: “You throw away, we mend”.

Guido and his generation see relationships and careers as transient. Self-obsessed, the men in particular, fail to grow up or even learn from their mistakes. Chiarini is an insightful observer, and DoP Baris Ozbicer’s camera finds always new angles for the emotional distress of the protagonists. Overall, the feature is more entertaining than philosophical, the director too well-meaning to produce anything with sharp edges. AS

LOCARNO FILM FESTIVAL 2018