The day of Nanni Moretti has finally arrived: the only Italian film in competition, “Three floors”, was presented at the Cannes Film Festival.
The protagonists are three families, who live in a bourgeois building, where peace reigns supreme, at least in appearance. Behind those doors, in fact, the life of the condominiums is certainly not quiet: in each apartment there are many family problems and the lives of the various tenants will inevitably end up colliding.
Based on the novel of the same name by Eshkol Nievo, Moretti’s thirteenth fiction film is also the first of his career not to be born from an original subject. however, he rethought the narrative, while remaining faithful to the spirit of the novel.
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A profound and psychoanalytic film
As often in Nanni Moretti’s cinema, the psychoanalytic side is fundamental, so much so that the three levels to which the title refers can be interpreted as the three levels into which Freud divided the psychic apparatus of each person: the id, the ‘Me and the Super I. With an increasingly evident stylistic maturity, Moretti has made a profound and powerful feature film, clear in the exposition yet layered in the proposed messages.It is a real lesson in directing, technically (almost) flawless and endowed with great emotional strength, in a carousel of moving moments that, except for some more superficial passages, speak of human relationships, parent-child relationships, life, death, farewells and the desire to start over.
A very hard and painful film that somehow also seems to speak of our present post-pandemic. Among the most significant films seen to date in Cannes, “Three floors” deserves a place in the final prize list.
In the cast, in addition to Moretti himself, there are, among others, Riccardo Scamarcio, Alba Rohrwacher, Adriano Giannini and Margherita Buy. The film will be released in Italian cinemas at the end of September.