"Anima Bella", Dario Albertini's second feature film, confirms the qualities of his first one, "Il figlio Manuel". Serious without being boring, compassionate without being over-sentimental, "Anima Bella" features the same type of characters at the same age. The theme examined is similar too, two late teenagers trying to help one of their parents in trouble - a fallible mother in the first, a gambling addict father in the second. The two youngsters are a boy in the first film and a girl in the second. Both are eighteen, both are devoted children who do their utmost (not to say sacrifice themselves) to help a wayward parent. Indeed, just like Manuel had for sole purpose to support his mum (in prison first, in house arrest afterwards), Gioia is ready to do anything to rescue her dad from his destructive addiction to gambling. No doubt Dario Albertini is an auteur.
To return to our subject, namely "Anima bella", one of its main qualities lies in its uncommon feel of reality. Although this is indeed a fiction played by actors, it definitely looks as if the scenes were taken from real life. Which is not only an impression by the way, knowing that the story is actually based a 2013 documentary by the same filmmaker, "Slot - Le intermittenti luci di Franco", already focusing the world of ludopathy. Years later, feeling he had not exhausted the subject, Albertini revisited the theme (the scourge of slot machines, the slavery and dramatic money losses it entails) as well as the characters (a gambling father and his daughter) - but this time in the form of a fiction. It became "Anima bella", whose objective remains the same but through at a more intimate approach. And successfully so: not only are Gioia and Bruno three-dimensional characters we can relate to but the story is given more emblematic scope as well. Without giving up anything on the documentary reality side for all that.
A part of the achievement rests on the cast. One can say Albertini's choice is impeccable. In addition to be aptly directed, the two lead actors give an impression of absolute truth: Madalina Maria Jekal moves gracefully on the tenuous thread of the child-woman while Luciano Miele is a tender but weak father, who alternately exasperates and moves the viewer as well as his daughter.
Also arresting is Albertini's warm and respectful description of the rural community daughter and father live in. The unsophisticated villagers are both colorful and touching. On the other hand, the big city, realm of temptation and of its counter poison the hospital, is filmed in a more abstract way: night scenes, cold colors, little human presence. A striking, meaningful contrast that cinematographer Giuseppe Maio's fine camera work helps reinforce.
A very good film that augurs well for Dario Albertini forthcoming career, both as a documentary and a fiction filmmaker. And also as a composer, for didn't he write the score of "Anima Bella"? A really multi-talented man.
To return to our subject, namely "Anima bella", one of its main qualities lies in its uncommon feel of reality. Although this is indeed a fiction played by actors, it definitely looks as if the scenes were taken from real life. Which is not only an impression by the way, knowing that the story is actually based a 2013 documentary by the same filmmaker, "Slot - Le intermittenti luci di Franco", already focusing the world of ludopathy. Years later, feeling he had not exhausted the subject, Albertini revisited the theme (the scourge of slot machines, the slavery and dramatic money losses it entails) as well as the characters (a gambling father and his daughter) - but this time in the form of a fiction. It became "Anima bella", whose objective remains the same but through at a more intimate approach. And successfully so: not only are Gioia and Bruno three-dimensional characters we can relate to but the story is given more emblematic scope as well. Without giving up anything on the documentary reality side for all that.
A part of the achievement rests on the cast. One can say Albertini's choice is impeccable. In addition to be aptly directed, the two lead actors give an impression of absolute truth: Madalina Maria Jekal moves gracefully on the tenuous thread of the child-woman while Luciano Miele is a tender but weak father, who alternately exasperates and moves the viewer as well as his daughter.
Also arresting is Albertini's warm and respectful description of the rural community daughter and father live in. The unsophisticated villagers are both colorful and touching. On the other hand, the big city, realm of temptation and of its counter poison the hospital, is filmed in a more abstract way: night scenes, cold colors, little human presence. A striking, meaningful contrast that cinematographer Giuseppe Maio's fine camera work helps reinforce.
A very good film that augurs well for Dario Albertini forthcoming career, both as a documentary and a fiction filmmaker. And also as a composer, for didn't he write the score of "Anima Bella"? A really multi-talented man.