There are always minor films in the career of a great filmmaker.
Tre piani
, by Nanni Moretti, is one of them.
Twenty years after his palme d'or for
La Chambre du fils
, the Italian filmmaker was yet back in competition at the Cannes Film Festival this year.
We understand why he left empty-handed.
By adapting the Israeli novel by Eshkol Nevo
Three floors
, Moretti transposes to Rome the choral plot of a polyphonic novel set in Tel Aviv.
Tre piani
is certainly not lacking in qualities, but its classicism a bit starched, this feeling of observing a scenario puzzle devoid of fantasy harms the homogeneity of the whole. We perceive there the distant echo of the world-novel
La Vie, manual for use
by Georges Perec. This desire in Moretti to embrace the evils of the world by concentrating them in a block of houses. A bit as if the director of
Mia Madre
had taken for the James Stewart of
Hitchcock's
Courtyard Window
, immobilized in his wheelchair and who would auscultate
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