Il sol dell'avvenire

Nanni Moretti, recently septuagenarian, conveys his themes, idiosyncrasies and obsessions, in a film that is simultaneously personal and engaging, melancholic and hilarious, a return to the autofictional irony that has delighted since Dear Diary. In different registers, ranging from family drama to social comedy, including musicals, the Italian master superimposes narrative layers – his life, the film he makes and the one he plans –, in a histrionic filmic tapestry that focuses on the passage of time , accusing Fellinian reminiscences while expressing a vague hope for a brighter future.