- By John Gellys
10 DAYS WITHOUT MOM (2019), BY ALESSANDRO GENOVESI – CRITICA
10 days without mom is of competent rhythm, with a well-written script and clear tints of situation comedy. Its duration is appropriate for the genre and the public that will attend the cinemas.
It is important the role of the script in this work, with right and comic lines, especially by Fabio de Luigi, who gives life to Carlo. His phrases are natural and simple, finding humor in everyday life. Although it has little surprise scenes, those that are, are almost unreal.
There are subplots or characters that don’t get enough juice, like the first nanny, Carlo’s boss or even the mother, Giulia. Perhaps it would have been good to also show your vision, which is merely anecdotal except for a video call with your children. Valentina Ludovini has already worked with the director of the film in Ma che bella surprise (2015).
In Italy this film has been a success, premiered with Mula and Alita: Angel of combat. He even surpassed both titles in box office data.
It shows a plot, a language and a rather thorny scenario, where the woman leaves her law career – of her own will, eye – to devote herself to raising her children. His day to day is delineated between guitar lessons, football matches, visits to the dentist or to the dry cleaner; while the man already has enough to try to escalate labor in his company and knows his children very little.
If Mom leaves, Dad tells his children – jokingly, but not much – that she is sex tourism in Cuba. When she only wants ten days of disconnection because it is impossible for her to reconcile family life and maintain a selfless attitude. Carlo must then take care of his three children: a baby, a child addicted to war video games and a rebellious teenager; what he calls “an illiterate, a terrorist and a gothic.” However, it is a normal family, nothing crazy.
In Italy this film has been a success, premiered with Mula (Clint Eastwood) and Alita: Angel of Combat (Robert Rodriguez). He even surpassed both titles in box office data. In this filmography Genovesi, the director of the film, works as both director and screenwriter, along with Giovanni Bognetti.
Alessandro Genovesi says he has three children himself, so some scenes have been based on real events, as he has had inspiration. Although he says that he would not go down to the mud as the protagonist if he had to take care of himself alone for his children.
Synopsis The marriage formed by Carlo and Giulia have three children.The first is an absent father, dedicated to his work, and Giulia is 100% dedicated to being a mother and housewife. Tired and stressed, she decides by surprise to go to Cuba on a trip with her sister. Carlo is forced to assume the role of father, which will trigger chaos at home and in the family.
DOGMAN (2018): STORY ABOUT THE HEROES OF THE END OF THE WORLD
“The person who is not inwardly prepared for violence is always weaker than the oppressor,” Aleksandr Solzhenitsin (1918-2008).
The story about Marcelo’s life lives from his own vicissitudes. So many gray nuances have as the bland streets of that rusty Italy that ages at the seashore, so many conjured hatreds that take their winter costumes from that impregnable Neapolitan to the ear and as many thoughts as that underground consciousness that lives in the slot machine shop , the purchase of gold amid the dust and cement of that neighborhood that builds the language of a dirty reality.
Marcello (Marcello Fonte), is a humble, parsimonious, somewhat slow man, has a beautiful daughter, and owns a small shop where he takes care of domestic and stray dogs, offers them care, always runs that trade with the desire to forget Your exile in poverty. Marcello is a silent hero, of that modernity that levitates without haste accumulating in the void: he has a short stature, his gaze down, his physical structure is made to withstand winds and blows, he is a character whose greatest tragedy is to tear himself apart.
Dogman pays tribute to those cities that rot with an almost bohemian charm on the seashore.
Marcello has in his hands the flag of the wars of liberation of the cowards: he faces Simone (Edoardo Pesce), the villain crammed with fury and an implacable murderous sensibility: he is a drug addict, brutal, ruthless, who lives to frighten his neighbors, you can not negotiate or agree with him. The only certainty to guarantee their silence is the overwhelming pleitesia that must be paid.Thus Matteo Garrone (Reality – 2012, Tale of Tales – 2015) builds Dogman, his film, a dark story about the universal Marcello and its shadows, which honors the degraded realities of the desolate landscapes of modernity, those cities that rot With an almost bohemian charm on the seashore, the film has a delicate plastic created by the Neapolitan dialect, that aesthetic engenders secret codes known to the inhabitants of that abandoned community to live and die; the film creates archetypes and destroys them, builds its own university with the dream language of the street heroes who live from the strength of their pity, Dogman makes Marcello and all the heroes charged with the powers granted by his pathos travel an endless path to their coronation, the end of the battle without dead or ashes, where they will only receive the gifts granted by the wisdom of emptiness.
Recommendation: Dogman is a dirty, raw film of a predatory reality. It tells the rigors of the underground world, its ordeals, its secret language and