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Mine vaganti

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Marta Marucci, “ Celebratory epigrams from Hellenistic Delos: a first survey of the epigraphic testimonies.”

Of course, the father does not see all this. He is too much occupied with "what people in the village may think". He is also mad at his family, that they did not forewarn him because "everyone can recognize gay people by their behavior". Loose Cannons ( Italian: Mine vaganti) is a 2010 Italian comedy film directed by Ferzan Özpetek. Özpetek also wrote the script with the help of Ivan Cotroneo, while Domenico Procacci served as a producer. The film stars Riccardo Scamarcio, Alessandro Preziosi, Nicole Grimaudo, Lunetta Savino, Ennio Fantastichini, and Ilaria Occhini. Juxtaposing with other Ozpetek's films I have watched (chronically STEAM: THE Turkish BATH 1997, LAST HAREM 1999, THE IGNORANT FAIRIES 2001, FACING WINDOWS 2003, SATURN IN OPPOSITION 2007), this time Ozpetek is palpably much smoother and more effortless to deal with his gay-oriented hallmark, shunning from all the melancholy and narcissism most homosexual films shamelessly over-exploit. Peculiar is that the announcement is just a few minutes ahead of the second son, who was initially planning to announce his gayness at that same family event, but did not know of the plans of his brother. The second son refrains from same announcement, fearing that his father won't survive a double "disaster". He tries to take up his role as second-in-line son to become the future company owner. But his heart is with being a writer, and not in leading a pasta factory. The loose cannons of the title are found amongst the Cantone family, the owners of a pasta factory in Puglia, in southern Italy. The father, Vincenzo, has decided that the time has come to hand over responsibilities to his sons, Antonio and Tommaso. His daughter's husband being an imbecile and his daughter being a woman, the brothers are the obvious heirs to the family business.

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Fans of a good old rom-com will love Pane e tulipani , which follows the protagonist Rosalba on a journey of self-discovery. Bored of her mundane life and controlling husband, the housewife impulsively hitchhikes to Venice after being left behind on a family holiday. Riccardo Scamarcio, Nicole Grimaudo, Alessandro Preziosi, Dario Bandiera, Ennio Fantastichini, Lunetta Savino, Elena Sofia Ricci, Ilaria Occhini, Bianca Nappi, Carolina Crescentini Several amusing story lines unfold. The family is large enough to offer many opportunities for sub-plots. It's a pity that most are not developed to their full potential. Even worse, some are rather unrealistic, like the gay friends of the second son staying for a few days.

Loose Cannons (Mine Vaganti)". Seattle International Film Festival. 2010. Archived from the original on 9 November 2011 . Retrieved 16 March 2012.

The striking contrast between traditional family structures and Tommaso’s secret double life not only builds an alluring narrative but also provides a great resource for learners at an intermediate level. With this film, they can learn a wide range of vocabulary relating to family relationships, love and food. Io non ho paura (“I’m Not Scared”) The comedy part in the film is somewhat showy but properly amusing; the intermittent interruption of grandma's marriage is adorably empathetic, also I cherish the balmy score (from Pasquale Catalano) and the moot ending which insinuates a positive perspective of the philosophy of our beings. The film is based on the American novel Human Capital by Stephen Amidon, which could help beginners and intermediates better follow the plot. However, due to the complex themes and dialogue, this film is ideally suited to advanced Italian learners. La vita è bella (“Life Is Beautiful”) But this is far, far more than a coming-out movie. Themes of life and death and family and love and loss and immortality run like deep, rich rivers of life throughout the story; it is astonishing how much emotional ground is covered so effectively and gracefully in so little time. Each one of the dozen or so highly differentiated characters is fully and richly developed, and not one of them is short-changed or stereotyped.

As usual in his movies, photography, sets and music are highly original and perfectly fitted to the story: if it were a silent movie it would be beautiful just to look at; if it were a radio program it would be delightful just to listen to. This is the first of his movies to integrate a significant amount of comedy into his usually serious but highly imaginative dramas, and he does it expertly; I laughed out loud almost as often as I wept with delight.Where To Watch: Available for streaming on HBO, Paramount+ and Canopy, as well as available to rent from various other streaming services. For a peek inside Italy’s gritty underbelly, look no further than Io non ho paura . This film follows nine-year-old Michele Amitrano as he attempts to solve a crime, exposing an insidious web of secrecy bigger than he ever could have imagined. The cast are all very good, the actress playing the grandmother, is marvelous and the film does present an interesting story. However, because it never seems to know where it's going and there is little in the way of conclusion to many elements this leads to, at times, a very frustrating film experience despite it's potential. Loose Cannons". Palm Springs International Film Festival. 2011. Archived from the original on 22 January 2011 . Retrieved 16 March 2012. Fernan Ozpetek delivers another talented direction in a movie which stands somehow apart from his previous ones, being here the entertaining and even funny element more evident and succeeded. The main theme has dramatic and thoughtprovoking implication, being it the difficulty for a son to reveal his homosexuality to his family, and the difficulty, almost the impossibility for the family to accept this revelation. What stands out here, as in all movies directed by Ozpetek, is the delicacy in handling with still difficult and "disturbing" topics, not judging nor siding for any point of view, but simply trying, sometimes with a radical but effective attitude, to offer a believable contemporary frame. At the same time, some funny moments are delivered and help to relieve the story of the easy risk to become too melodramatic or pedantic.

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