Luciano is a Neapolitan fishmonger who supplements his modest income by pulling off little scams together with his wife Maria. A likeable, entertaining guy, Luciano never misses an opportunity to perform for his customers and countless relatives. One day his family urge him to try out for Big Brother. In chasing this dream his perception of reality begins to change. –Cannes Film Festival
Matteo Garrone is an Italian film maker. Born in Rome, the son of a theatre critic, Nico Garrone and a photographer, in 1996 Garrone won the Sacher d’Oro, an award sponsored by Nanni Moretti, with the short film Silhouette, that became one of the three episodes that are on his first long film Terra di Mezzo in 1997. He won Best Director at the European Film Awards and at the David di Donatello Awards for “Gomorrah”. —Wikipedia
Another very good direction by Matteo Garrone.The all-colorful-all-enjoyable characters and inspiration of its own should not make it the ordinary drama (comedy really) you may watch most times. Yet the treatment of the subject-matter, the reality tv, the 'I JUST WANTED TO BE ON THE SHOW' dream of another quite famous old film (or its 'NEVER GIVE UP' variation) was a bit thin, made the film quite stale to my taste
Un meraviglioso film di un superlativo Garrone.La realtà che diventa succube dell'irrealtà:non è un argomento innovativo,ma al contrario sono la sua realizzazione e la sua poetica ad esserlo.La tendenza ad allontanarsi da una realtà deprimente per raggiungere il sospirato"Nirvana".Finale maestoso,mi ha ricordato molto Noodles nella fumeria d'oppio.Un neo-neo realismo ancora più diretto e comune di Gomorra.Chapeau. 4*
The most realistic depiction of Italy of the past decade. A country split between two kinds of idolatry: television and the church. Considering that in Italy the State and Mass Media are equivalent (i.e. Berlusconi's ownership of tv channels, newspapers, radio...) "Reality" is a meditation on the Belpaese's failure and madness, at micro/macro levels. Once again, Garrone, not Moretti, has grasped the "real" Italy
A complete departure from Gomorrah. A successful picture with some lovely long takes. But, admittedly, it ultimately feels rather slight—partly because the grotesque fascination with, and vapidity of, reality television and the D-list celebrity status that accompanies it already feels dated as a satirical theme. Network, The King of Comedy, and The Truman Show all touched on this material in a more memorable way.
Post-Cannes thoughts on Wes Anderson, Rufus Norris’ opening night film for Critics’ Week, and Matteo Garrone’s prize-winner, Reality.
The Palme d’Or goes to Michael Haneke’s Amour. Also, a comprehensive list of all the award winners.