Synopsis
Margherita, a director in the middle of an existential crisis, has to deal with the inevitable and still unacceptable loss of her mother.
Mia madre
2015 Directed by Nanni Moretti
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Alternative Titles
Η Μητέρα Μου, My Mother, Mia Madre_ My Mother, Mia Madre
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maybe my favorite Moretti since THE SON'S ROOM? it's not just the work / life balance that this film gets so right, but also — and more crucially — how you can never master your own life to the point where a personal hardship can't make you feel like an utter amateur. and when you feel like an amateur to begin with... well, this one hit home.
and John Turturro is very silly.
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TIFF 2015 - Film # 11
Reason for pick - director of We Have a Pope, The Sons Room
There was something that Italian director Nanni Moretti captured that resonated with me. His semi-autobiographical film deals with a director who is shooting a film while her mother is dying.
Both my parents passed away decades ago, and for those of you who have already gone through this experience, this cycle of life, will probably agree that the experience is somewhat surreal. The surreal quality acts as an insulator that keeps grief and sadness at bay. For me, it manifested in a 'waking dream' like state where you perform your everyday functions, but you keep thinking thoughts of what you have…
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It hurts, hurts so bad. Watching this with my mom didn't help. I wept.
Moretti: you killed me.
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Review In A Nutshell:
There are traces in Mia Madre that speak to me, most notably through my perspective as a nurse, seeing families in distress as the idea of their loved one’s approach to departing soon comes to actualisation. One can see the traces in Mia Madre that its protagonist’s mother is deteriorating, but she can’t seem to grasp such an outcome and appears to focus on aspects that points towards signs of improvement, thus making it harder for herself as all signs begin to point south. The film demonstrates how such a circumstance could intervene and consume a person’s life; capturing the perspective of a close relative in attempting to cope with such stress as they attempt to…
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Despite being a very personal film for Moretti, effectively looking back at the filming of his last film We Have A Pope where his mother passed away, he still manages to take an objective stance, muting what could have been a sweeping emotional recollection. Although the director did use some of his mother's own clothes to dress the actress playing the sick mother, so there was some exercising of ghosts going on during the filming process.
john Turturro's egotistical thespian threatens to steal the show but Moretti uses him sparingly to lighten the mood where needed. There is nice scene in the final act that adds some humanity to his Barry Huggins character, levelling out what we had seen from…
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41/100
[Originally written as part of my third dispatch from Cannes '15 for The Dissolve.]
Once considered the Italian Woody Allen, Nanni Moretti (Caro Diario, The Son’s Room) returns to Cannes this year with Mia Madre, which is either a cutting satire about the filmmaking process or an oneiric portrait of a film director’s emotional turmoil as she (Margherita Buy) tends to her dying mom (Giulia Lazzarini). I say “either” rather than “both” because Moretti, who also plays a supporting role as the director’s brother, never finds a way to integrate the two tonally—half the film is a broad comedy, the other half a sober dreamscape. The comedic half works considerably better, thanks in large part to John Turturro’s self-mocking…
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Love the shooting stuff, not quite so sure about most of the family material. Very affecting at times, some Moretti worst navel gazing at others. Moretti can play it very safe for most of this century, but he is one of the few genuine European masters that get major film festival attention and when this connects it does so strongly.
In a separate note, I'd watch a documentary about Moretti and Turturro talking about the later experiences working for MIchael Bay.
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Mia Madre is a heartbreaking study of grief caused when you are on the verge of losing a parent. The emotional turmoil that induces a restlessness at work felt like an exacting image of something I have lived myself. Great Film.
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Moretti transita entre a comédia e o drama da mesma forma como sua protagonista sai do sonho para a realidade e vice-versa. Filme devastador nas emoções que busca do espectador, indo a locais muito delicados e de imagens fortes que podemos já ter visto ou que nunca gostaríamos de ver, mas que ele filma com a sensibilidade necessária. Ao mesmo tempo, é uma reflexão sobre a relação do artista com seu ofício e sua vida pessoal, e como as pessoas do lado de fora podem fazer julgamentos e ser insensíveis quando não sabem de nada ou apenas não se importam mesmo.
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It had some fairly intense scenes, but overall felt like it needed more. The ending didn't really do much for me as you knew it was going to happen. It felt like the end from the very beginning.
The movie also kind of feels like it starts from in the middle of a story. I felt like I would be more invested if half of the film wasn't done and if the grandma wasn't already in the hospital.This isn't to say it was bad, as I liked the acting and some of the cinematography, but I just feel like the story could use a bit more to get at my heartstrings.
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Não sei por onde começar. Me parece às vezes imperfeito, muitas imagens não são exatamente novas. Com ele, vou do entendimento doloroso profundo à alegria pelo novo que se mostra através da presença de John Turturro. O modo como seu personagem se desenvolve e, principalmente, o modo como Marguerita olha para ele é lindíssimo e muito muito novo.
Trata-se também de uma bela homenagem para a doce Ágata Apicella Moretti. Mãe do Nanni que pudemos ver em Aprile. O olhar da atriz que faz a mãe lembra o dela, que era também professora, e que também deve ter deixado grandes e belas marcas em seus alunos e alunas.
Gosto muito também do entendimento que Nanni Moretti tem do set como…
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