The film "Caos calmo" is also translated as "Quiet Chaos". Both "Calm Restlessness" and "Quiet Chaos" are very suitable for the theme, atmosphere and purpose of the film. The mood expressed - the usual life always seems to be calm, but in fact there are uncertain mutation factors, even misfortune, which then brings a lot of unpredictable and uncontrollable and chain reactions of restlessness, repeated chaos and intolerance, until finally encounter. An inflection point that ends this period of mourning and then moves on to the next period of restlessness or confusion.
There is restlessness lurking in the calm, and chaos is wrapped in the tranquility. This seems to be the main theme of life, and there is a delicate and fragile balance between them. The actor in the film also talked about the fragility of this balance when chatting with his younger brother. . The film uses quite emotional images to enrich, symbolize, and express this calm and restlessness, such as the undulating sea at the beginning, which seems to herald a common but inevitable restlessness. The benches seem to be brewing and accumulating ups and downs in tranquility until the catharsis period comes.
The whole film is simple in structure, smooth in narration, precise in performance and quiet in picture, like a two-piano piece that relieves the mind, just like its soundtrack. The script is adapted from Veronisi's novel of the same name, which won the Strega Literary Award. This time, "Italian Woody Allen" Nanni Moretti once again polished the script and played a bereaved family again. No. 2 middle-aged male (middle class + middle-aged person), only the "he" in 2003 lost his son ("The Son's Room"), and the "he" this time lost his wife. It is undeniable that Moretti is good at expressing how human beings face the great creations in life, also lose and experience pain, but there are many similarities and differences in the way of expression, specific presentation and details of the process.
As far as the overall temperament is concerned, if the two seemingly contradictory emotions, the deep sadness and the faint warmth, are subtly and properly connected in the "Bereavement", then the "Bereavement" will be a kind of disappearance. Untouchable melancholy is scattered among Italian lyrical narratives and humorous ease. In terms of performance, Xu is the director's work this time belongs to Antonio Luigi Grimaldi, not like "The Lost Son" because Moretti wrote, directed and acted, so Moretti had more time To try to recreate the different way of performance in the past, therefore, different from the painful way that only a firm father has, the widow Pietro in "Peaceful Restlessness" has a calm and interesting, sad humor, and sad ease.
Maybe when his wife was alive, Pietro ignored everything about her, and even after the funeral, he was still in a state of unconsciousness, and then the process of wandering around the gate of his daughter's school was the key to his heart - finally Pietro When making a list of places he didn't want to go back to, he listed the beach house where his wife had an accident, so he felt sadness, as if the long-saved tear duct had finally been punctured, and in the night he chose the primary school for healing. The tranquility outside the school...
Perhaps this is one of the opportunities for Pietro's release, and the other outlet is what he sees, hears, thinks and says on the green bench at the school gate every day, as well as "passionate sofa sex" with a woman . Aside from the "senior" sofa scene that was a bit rough and vented in the silence, when he insisted on waiting outside school for his 10-year-old daughter to leave school, Pietro, a successful career man, began to calmly watch, so he saw a difference. Human habits: the parent who picks up the child, the owner of the cafe, the beautiful woman who walks the dog every day, and even the mentally handicapped boy, and he uses the way of opening and closing the electronic lock of the car to please the boy, as if "every day has an appointment", which is not only pleasant It is also comforting.
During this period, Pietro often talks to himself, listing some necessary or unnecessary things, and these psychological monologues have a special effect, in addition to the narrative needs, it also reproduces a self-regulating way of relief. Of course, there is also interactive communication. For example, Pietro, a big man, appeared in the seat of "Mother's Afternoon Tea" for the first time. More importantly, he was waiting for the bench, as if he became a number of colleagues, bosses, relatives and friends who came to talk and communicate alone. While chatting about the prospect of mergers and acquisitions or the company's secrets or secret emotions or gags, Pietro seemed to be subtly sorted out. He watched the incident from the sidelines, but was calm and sober. As the saying goes, many people passed by him, And he was passing his life.
Compared with the "sticky" performance of the father's "Chengmen Lixue" after the funeral (seeing that the heaven and the earth are waiting outside the school, it is already snowy Christmas), the daughter Claudia looks mature and sensible, and the Christmas gift she wants is Let Dad stop doing this, because the classmates are laughing at her, "You know, children are very ruthless", Claudia speaks eloquently, and uses what the teacher taught when Dad was waiting on the first day" "Intertext" to emphasize the irreversibility of things, so the sensible Xiao Ke completely weaned the father who was busy with maintaining the umbilical cord, and he was completely relieved that his eyes were red.
In addition to intertextuality, the film also applies the concept of refutation. The rescue and death at the beginning seem to give a message that life is impermanent and irredeemable. Pietro and his younger brother Carlo rescued two drowning people in the turbulent waters. The woman, after returning to the villa, without warning, Pietro saw the death of his wife... Although this passage has the shadow of death, it also has a special meaning.
The big dog named "Fog" in the film is very cute, and the woman who walks it (played by former model Kasha Smutnia) is very seductive, and she watches Pietro every day waiting and him and different visitors. It seems that those hugs are too kind and human, so that with the "assistance" of the big dog, the beauty does not waste the opportunity to hug Pietro. And that morning hugging in the snow seemed particularly fresh and pure, as if it heralded some possibilities. Indeed, although many things are irreversible, after all, there are still many possibilities in the future. This is the secret of life.
It is true that many people pass by him, and he is passing through life, and this passing also seems quite meaningful and distant.
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