The marketable combination of Cruz’s stellar performance and the picture’s peppy use of music, dance and period pop culture should ensure that the film will attract interest both from further festivals and from arthouse distributors.
But of his previous pictures, L’Immensita perhaps has most in common with his second film, Respiro: both deal with unconventional mother figures, both explore the theme of not quite fitting into society’s proscribed roles. The film’s premiere in Competition at Venice marks a return to the festival for the Rome-born Crialese, who won the Special Jury prize there for Terraferma in 2011 and the Silver Lion in 2006 for Nuovomundo. Seen through the prism of the family, we get a sense of Rome as a pressure cooker Still, the force of Cruz’s charisma - she’s like a cross between Sophia Loren and a solar flare - is more than enough to justify spending time with the family. But at the same time, it is also erratic and occasionally frustrating. Like Clara, it is a beguiling and multifaceted entity. The latest picture from Emanuele Crialese takes its tonal cue from its central character. Resigned to the fact that her marriage is all but over, Clara channels her attention into the kids, the oldest of whom, Adri (well-cast newcomer Luana Giuliani) was christened Adriana, but prefers to live as Andrew, just one of many flashpoints between Clara and her husband. It’s a pointedly appropriate backdrop for this spirited domestic portrait of sparky, unpredictable Clara (Penelope Cruz), her casually unfaithful husband Felice (Vincenzo Amato), and their three children. But in order to do so, it must first destroy itself. Rome in the early 1970s is a city which is rebuilding. Source: Pathé International (c) Angelo Turettaĭir: Emanuele Crialese.
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