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2023 on the big screen ends with a film that talks about changes and possible rebirths: “Ricomincio da me” by Nathan Ambrosioni arrives in our cinemas and is preparing to excite the Italian public.
The protagonist is a 43-year-old woman, called Toni, who raises her five children alone while working a full-time job. In the evening the woman sings in bars to make ends meet and be able to support her large family. Toni is talented as a singer and is the author of a worldwide successful pop song, but this fame dates back twenty years.
Today the eldest of her children are ready to go to university and this is where the woman has some questions: what will she do when all her children have left home? Is there still time to take back his passion and control of her life?
“Ricomincio da me” starts from questions that are not easy to answer, a film by the very young Ambrosioni, born in 1999, director, screenwriter and editor of this interesting feature film.
In the story of this woman in search of a new awareness of herself there are notable insights into the relationship between parents and children, the desire to always feel worthy and the fears of the future.
“I start again with myself” and the other films of the week
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Notevole Camille Cottin
Mixing drama and comedy, through a method typical of much contemporary French cinema, the film is both enjoyable and capable of touching deep chords, despite some passages appearing more sweetened than necessary, especially as the conclusion approaches. The starting idea it is the true strength of a screenplay that does not always manage to hit home (above all due to some dialogues which appear to be overly constructed), although overall the script can be defined as successful and engaging. Ambrosioni, given his young age, nevertheless demonstrates talent and will be one of the names to take into consideration for transalpine cinema in the coming years. A special mention goes to the excellent performance of the protagonist Camille Cottin, called upon to interpret probably the most difficult role of her career. career. It should be noted that the actress, already seen this year in “Assassin in Venice”, will be at the center of one of the most anticipated films of 2024: “L’empire” by Bruno Dumont, the excellent French author who has directed films in the past such as “The Restless Age” (1997) and “France” (2021).
Saltburn
After its presentation at the Rome Film Festival, “Saltburn” has arrived on Prime Video, Emerald Fennell’s second feature film after “A Promising Woman” in 2020. The protagonist is Oliver, a boy who attends the University of Oxford, where he struggles to find its place. Fascinated by the aristocratic world in which his fellow student Felix lives, Oliver will be invited by the latter to spend the summer in Saltburn, the vast property of his friend’s family. Once he arrives on the estate, the boy finds himself surrounded by sumptuous halls, gardens with labyrinths, and Felix’s noble and eccentric family members. As in the previous “A Promising Woman”, Emerald Fennell wants to shake the viewer, mixing genres and playing with our expectations: what on the surface seems like a classic coming-of-age story will soon transform into something different and this breaking of the audience’s certainties is perhaps the most interesting point of the operation. Beyond this, in fact, the film struggles to inspire as it should and the feeling is that many forcings inserted in the screenplay are nothing more than a pretext to create small shocks. Also due of some rather predictable twists, “Saltburn” risks being a film that is quickly forgotten: a good performance by the protagonist Barry Keoghan and there is no shortage of noteworthy sequences, but the film wanders too far, struggling to involve and leave something behind to reflect on at the end of the viewing.