The calm restlessness follows Nanni Moretti's usual themes: the crisis of the individual, the family and masculinity. Pietro has to take on the responsibility of his father at the same time as his wife dies unexpectedly while on vacation and mother's responsibilities, raising daughter Claudia alone. In the 100-minute film, the footage shows us how he faces such a crisis: from a fragile plateau (calm restlessness) that hides pain, to emotional outbursts, to Facing the past bravely, until you get out of the sadness and return to a normal life.
The film is trying to create a character with many contradictions like Pietro. His contradictions are shown in his contrast with other people, and in his own duality. In his wife After his death, Pietro spent more time with his pain than his daughter Claudia. Although, in principle, it was the father who looked after his daughter, he had a stronger and more mature mind than her daughter. Claudia's fear, or grief, was merely Presented in three scenes, one is Pietro just returned from the sea to find his wife dead; the second is after the funeral, she looks back at the church as she leaves; the third is in class, she is not actively participating in the discussion. And Pietro, Despite his efforts to suppress the pain, it was clear that he was off the track of his life. He stayed at his daughter's school gate all day, waiting for Claudia to pop his head out of the window to greet him during breaks, waiting for Claudia to get out of school. And in the process, the only meaningful thing he did was to try his best to amuse a mentally retarded boy.
Despite Pietro's vulnerability, that hasn't stopped him from being a confidant to many: colleagues, his brother's wife. He even moved his office to the school gate. It looks like he still has power. And by deleting his wife's emails , expressed a determination to forget the past. But it was during the conversation that he found that in a way, he didn't know much about his deceased wife, or didn't pay enough attention to it, and he was wandering at the school gate day after day. The situation has become a topic of conversation among strangers. The accumulation of various pressures has become the fuse for his grief eruption. Beneath the calm appearance, a restlessness is also brewing. What
finally prompted Pietro to completely walk out of the shadows was his brave return to The apartment where his wife lived when he died, and by this time he was fully competent to take care of his daughter. Even in terms of sex, he found a substitute - the woman he rescued from the sea when his wife had an accident. If the event was Reversible, will Pietro choose to save the woman or his own wife? So, in that house, a passionate sex takes on more meaning. It's also a paradoxical focus, with Pietro taking a The image of the crasher waits at the school gate, but he still has enough attraction to the opposite sex, whether it is the noble lady he rescues, or the young beauty. It can be said that Nanni Moretti discusses the male through a series of films The question of crisis, this can come to an end, the male in Moretti's work, after a process of continuous maturation, finally appears in a powerful image in his latest film work, both in terms of career status and successful The pain of being widowed, or the power of having sex, Nanni Moretti makes the perfect end to such a discussion.
So at the end of the film, the big boss personally visits Pietro at the school gate; it's just a simple hello every day The pretty lady hugged Pietro without hesitation; when Claudia wanted to tell her dad not to stand in front of the school, Pietro agreed with her daughter without any loss, and drove away, the camera stayed in the moment, but Pietro drove into the future.
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