Michele is busy making faces to some kids while driving his car… the accident that follows makes lose his memory. Now he has to reconquer his personality and his past. He finds himself in a swimming pool, involves in a water polo match which seems quite crucial. In a mix of reminiscences and allusions of people around him, he understands that he is an important leader of the Italian Communist Party, and also that he is responsible for a crucial play that would make his team win. While his teammates discuss and organize their strategy, Michele leaps out of the pool to meet various characters, all out of his past and present life. Comrades and bureaucrats, journalists and family members, friends and foes come to question or haunt him. When the match is nearly over, Michele misses his penalty. He goes back home, obsessed by his thoughts and doubts, and has another car accident…
The Italian Comunist Party has lost his way (hence amnesia) but something is still needed (hence the hope for another ending). A brilliant semi-autobiographical political comedy by one of the most important Italian directors of today.
Giovanni (Nanni) Moretti was born in 1953 in Bolzano. Both his parents are teachers and researchers. His first passions, cinema, water-polo and political commitment mark his works and his biography. After having graduated, Moretti tries to find work as assistant-director before shooting his first Super-8 shorts. He is also an actor for the Taviani Brothers (Padre padrone). His first feature-length film Io sono un autarchico brings him success both with the critics and the public. His second (Ecce Bombo) is selected by Cannes Film Festival. The success of the film makes Moretti one of the main European new authors.
Sogni d’oro wins the Jury Prize in Venice, and after Bianca (1983), La messa è finita wins the Silver Bear at the 1985 Berlinale.
In 1987, toghether with his long-time friend Angela barbagallo, Moretti establishes his production and distribution company, Sacher Film. They will then purchase and run a theater in Rom, called Nuovo Sacher.
Some dialogs and characters… read more
What I find most impressive about Moretti's film is how his plain, simple style lends the film an openness of possibility: flashbacks can pop up announced, the more surreal bits can mingle with the political commentary, anything can happen. It reminds me a little bit of the fleetness of late Buñuel (but I'm probably talking out of my ass).