Our review of the film L'Immensita: Roman childhood

Air.

She is suffocating.

Her husband bores her.

In 1970s Rome, Clara raises her three children with the courage of a little soldier.

The eldest daughter is a tomboy.

It was said like that, at the time.

At 12, Adriana prefers to be called Andrea.

The ill-fated teenager in a skin that is not her own thinks she comes from another galaxy.

She eats hosts and hopes for a miracle - one suspects which one.

The mother has a whimsical side.

The slightest 45-rpm propels her into a frantic dance, to the delight of her children.

This broken woman embodies a freedom of which she is deprived.

In front of the building, there is a field of reeds.

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Behind hides a camp of Gypsies.

Adri sympathizes with these strange neighbors.

This changes her from her school of nuns.

The father does not see what is happening around him.

Obviously, this stupid Felice refuses to divorce.

The tribe drives in a burgundy convertible DS.

Holidays are spent by the sea. Growing up is never easy.

For the kid, it turns out to be an obstacle course.

Her secret devours her from the inside.

Its difference is obvious.

We admit it without protest.

The emotion passes.

We are witnessing a series of fair and rapid sketches.

true details

This is the age of blind man's games.

A New Year's Eve dinner creates embarrassment.

The younger brother poops in the hallway of the carpeted apartment.

Asthma attacks come at the worst time.

How could we forget that afternoon when everyone had gone to a session of

?

The film is teeming with real details, with events that we thought were unique.

The decorations recall this period when the colors were orange, when the photos had grain, when we glued our eyes to the microscopes during natural science lessons.

A fire, a black panther will remain engraved in the memories.

The atmosphere, the subject quite evoke

, by Marco Bellocchio.

If I chose Penélope Cruz, it's because I needed an actress capable of embodying the dream of an ideal mother seen through the eyes of a child.

At that age, you see your mother as someone mysterious and very approachable at the same time.

Emanuele Crialese, director of L'immensita

There is seriousness, a hint of anger, a diffuse disenchantment.

Nothing is grasped too closely.

This is the correct distance.

The autobiographical character hardly seems doubtful.

Penélope Cruz is in a state of grace.

We no longer recognize her.

First, she speaks Italian.

Such metamorphoses are rare and Spanish.

In her Fiorucci dresses, she is petite, toned, sulky, wild.

You have to watch how she imitates Patty Pravo or apes Adriano Celentano in front of the television.

She has the rage of Anna Magnani, the smile of Sophia Loren, the humor of Monica Vitti.

It's as if she sent all Almodovar flying.

The change of scenery succeeded him.

She deserves all the awards.

May Emanuele Crialese be thanked here.

is a film that sings.

This is a sad song.

The opinion of Figaro: 3/4