Almost an orphan. The review of the film

A comedy that struggles to keep up with the times, poised between old clichés and the inability to update its comedy. Remake of the French film Meet Yours by Dany Boon

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Valentino (Riccardo Scamarcio) and Costanza (Vittoria Puccini), husband and wife, live in Milan. Here they founded a successful brand, becoming great stars of the design world. Valentino, of Apulian origins, has long since severed relations with his family and abandoned his surname, Tarocco, choosing to define himself as an orphan – or almost – in front of the cameras. However, close to an important corporate turning point, the Tarocco family suddenly appears in the Lombard capital. The arrival of relatives, combined with a serious road accident, will drastically change Valentino’s new life.

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North versus south. Milan on one side, Puglia on the other. Umberto Carteni’s cinema continues to reason by opposition. The director of Different from whom? again chooses the path of stereotypical comedy / dispute; yet, if the filmmaker’s first work strove to break through the national imagination by mixing political satire and gender identity, Almost an orphan it seems placidly settling on the typically (too much) Italian and folkloric stylistic features of the regional conflict. Carteni directs a comedy that struggles to keep up with the times and which – as the slogan of Valentino’s company says – seems to be in the “constant (but vain) search for the full meaning of emptiness”.
Remake of the 2018 French comedy I’ll bring you back yours directed and starring Dany Boon, it is a film lacking in ideas, divided between a comedy now outdated and inflated by dialectal altercations and pathetic clichés (evil CEOs and standard couple misunderstandings) and which struggles to define an identity of its own ending, to accounts done, to be a simple re-proposal out of time of the already forgettable Welcome to the North by Luca Miniero, seasoned in “Zaloniana” sauce.

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Almost an orphan it is a film with uncertain and geographically virtual coordinates. Milan and Puglia lose their physicality within the film to become non-places. The Vertical Forest and a dilapidated country farmhouse are stereotyped slides; prisons of stale clichés through which the characters, deprived of the possibility of escape, can only move from point A to point B and from which the director never chooses to open a glimpse of the real world.

There would be, to tell the truth, the possibilities of a partial elevation of the discourse. Scamarcio and Gerardi (in the film Nicola, Valentino’s brother) tear more than a smile and the protagonist’s Apulian regression, combined with a reflection on the nomen omen Tarocco (annexed identity crisis), could have given the film a less blatantly crude tone.

Unfortunately, the material inevitably ends up flattening out and the performances of the performers – above all Nunzia Schiano, not surprisingly among the symbolic faces of the binomial Welcome to the South / North and therefore of this “reactionary” humor – they are unable to revive a work that seems to be content with itself, using narrative topoi that today simply no longer work.

Director: Umberto Carteni

Interpreters: Riccardo Scamarcio, Vittoria Puccini, Antonio Gerardi, Grazia Schiavo, Adriano Pappalardo, Nunzia Schiano, Bebo Storti, Chiara Di Benedetto

Distribution: 01 Distribution

Duration: 100 ′

Origin: Italy 2022

The evaluation of the Sentieri Selvaggi film

The vote of the readers


2.69
(13 votes)

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Almost an orphan. The review of the film