Davide Ferrario, the director of AFTER MIDNIGHT (Dopo mezzanotte 2004), at the same year, released this comedy-crime mash-up starring comedienne Luciana Littizzetto, who also chipped in the shares of the screenplay.
The recommendable part of the film is its laid-back spirit to deal with a murder case, which is legitimately Italian and the predictable gimmicks function pretty well align with Luciana's amicable persona. The vivace pace of the narrative attenuates the moral indictment of adultery (the ugly truth is that almost everyone is cheating behind their partners, which I fancy could be the status quo not only in Italy) and lives up to the ultimate moment and fabricates a self- consciously happy-ending.
But meanwhile the film suffers drastically to keep both comedic and crime segments into a considerable equilibrium, eventually the homicide part is ludicrously given a loose end which makes the preposterously professional investigation a shocking hoax!
Ferrario seems to lose his target after the more indie-oriented love-triangle vignette AFTER MIDNIGHT, from which the disappointment is induced, but for the sake of Luciana's masterful slapstick humor, the film fortunately steers clear of being a complete disaster.
Without an international distribution, like most of Italian comedic films, which rarely could be comprehended by those are not Italian, this film demonstrates a critical criteria of contemporary Italian comedy. In a world the pervasive Hollywood farces are nearly invincible in every corner, other cultural strongholds are anemic in elsewhere except its domestic base, I might wonder why these internationally notable auteur not make any effort to strive for their own countries, culturally speaking, it is a meaningful mission, which is not quite impossible yet, plus comedy is always more welcome than dramatic features.
The recommendable part of the film is its laid-back spirit to deal with a murder case, which is legitimately Italian and the predictable gimmicks function pretty well align with Luciana's amicable persona. The vivace pace of the narrative attenuates the moral indictment of adultery (the ugly truth is that almost everyone is cheating behind their partners, which I fancy could be the status quo not only in Italy) and lives up to the ultimate moment and fabricates a self- consciously happy-ending.
But meanwhile the film suffers drastically to keep both comedic and crime segments into a considerable equilibrium, eventually the homicide part is ludicrously given a loose end which makes the preposterously professional investigation a shocking hoax!
Ferrario seems to lose his target after the more indie-oriented love-triangle vignette AFTER MIDNIGHT, from which the disappointment is induced, but for the sake of Luciana's masterful slapstick humor, the film fortunately steers clear of being a complete disaster.
Without an international distribution, like most of Italian comedic films, which rarely could be comprehended by those are not Italian, this film demonstrates a critical criteria of contemporary Italian comedy. In a world the pervasive Hollywood farces are nearly invincible in every corner, other cultural strongholds are anemic in elsewhere except its domestic base, I might wonder why these internationally notable auteur not make any effort to strive for their own countries, culturally speaking, it is a meaningful mission, which is not quite impossible yet, plus comedy is always more welcome than dramatic features.
