Italian cinema is a great protagonist in the room: after Nanni Moretti’s “Three floors”, released a couple of weeks ago, the turn of “A Chiara” by Jonas Carpignano has arrived, one of the most interesting films of the weekend at the cinema.
Presented at the Quinzaine des Réalisateurs of the last Cannes Film Festival, “A Chiara” is the closing of an ideal trilogy that the young director born in 1984 has set in Calabria, after “Mediterranea” in 2015 and “A Ciambra” in 2017, film the latter with which the new chapter really has a lot in common.
Also in this case we are faced with a story of formation, albeit feminine, with a girl who finds herself from one day to the next forced to try to understand what her future may be: Chiara is a fifteen year old who suddenly discovers that his beloved father is an affiliate of the ‘Ndrangheta and, from that moment on, his whole universe seems to dramatically collapse.
As in his previous works, Carpignano has created a fiction film strongly mixed with the documentary language, having also based itself on the experiences of local people.
The confirmation of a great talent
Opened by a sequence of great aesthetic strength, “A Chiara” is the confirmation of Carpignano’s great talent, which remains on the same level as his 2017 feature film, still managing to give life to a realistic product and at the same time able to empathize with the viewer.