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Caos Calmo 2008
Description: Pietro is a successful businessman with a wife and a daughter. One day he supports his brother save two girls from drowning at the beach. When he returns home he finds that his wife has died. Actually Pietro has to take care of his daughter, Claudia. When he drives her to school later after, he decides to wait for her all day in front of the school, and later that's what he does each day.
Released: 26 Jun 2009 Director: Antonello Grimaldi Writers: Sandro Veronesi (book), Nanni Moretti, Francesco Piccolo, Laura Paolucci Actors: Nanni Moretti, Valeria Golino, Isabella Ferrari, Alessandro Gassman Genres: Drama, Romance
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Caos Calmo Reviews:

Nanni Moretti is not testing his neurotic self this time but he is quite convincing as a boy who can't deal with his emotions at all. The nice thing about the film is that all tiny storyline lines hold on spinning around him and seem to go nowhere in the end.Just a several things place me off. I don't know if it was important to create the person a top manager. He doesn't seem the kind to keep that sort of position. And the symbolism of the reversibility of palindromes is a bit cheesy and over the top.But the thing that really place me down is that one sex scene. There is nothing wrong with it in itself but it does not fit in this film at all. The entire atmosphere changes, it is as if the film stops, the sex stage starts, and when it's over the film begins again. Not convincing at all.


Two middle-aged brothers - Pietro (Nanni Moretti) and Carlo (Alessandro Gassman) - enjoy ball on the beach when suddenly two girls yell for support while in the ocean. The brothers risk their lives to save the two women, only to search that the girls don't even thank them. When the Paladini brothers drive back to Pietro's home, they explore that in their absence Pietro's wife has fallen and died. Pietro's 10-year-old daughter Claudia (Blu Yoshimi) is distraught and asks her father why he was not at home to save his wife. After a quiet funeral Pietro enters an existence of 'quiet chaos', neglecting his duties as a successful executive, selecting instead to sit on the bench across from Claudia's school, waiting every day in numbed silence for his daughter's completion of classes in order to drive her home. His only goal, despite different interruptions from passers-by and family members in incidents both humorous and distractingly serious, is to be there for Claudia, visible through her school window, to reassure her of his constant presence. How Pietro gradually figures out his grief, the world, and his zone in it, discovering a fresh relationship with Claudia, forms the storyline line of this tender film. Director Antonello Grimaldi, working with a screenplay adaptation of Sandro Veronesi's ebook by Veronesi and Nanni Moretti, draws extraordinary performances from his cast of premiere Italian actors. In an classroom stage Claudia's teacher is explaining the word 'palindrome' (a sequence of troops that can be read the same method in either direction) and shares with her pupils how some things are reversible while another things are irreversible. Grimaldi and his writers and actors demonstrate this term as it applies to human happenings in this thoughtful story. The film, in Italian with subtitles, appeals both to the intellect and to the emotions. It is a tiny treasure. Grady Harp


Chaos is part of the human condition, as is death. Combine those three aspects in a narrative that explores the grieving process of a well-to-do business man, and you have the primary plot for this film.Each of us grieves in our own method but generally in a manner that's well-known and understood. The boy of this story, Pietro Palladini (Nanni Moretti) is different, however, when his wife dies unexpectedly (in the first ten minutes): his attitude is one of apparent indifference. Moreover, his behavior takes other turn when he insists on remaining outside his daughter's school each day, all day, instead of returning to his highly paid, high-powered position as a senior executive with a company that's infighting a merger with an American outfit. When named by his office, he insists he can do his work in his car, or while sitting on a park bench opposite the school...That sort of aberrant attitude raises questions and helped this viewer to stay with the storyline to peel back the layers and search out what's eating Pietro.As the widower, Nanni Moretti gives a quietly brooding and pensive performance that has an almost di Nero quality. It's contrasted nicely with Carlo (Alessandro Gassman), Pietro's celebrity brother who is as extroverted as Pietro is the opposite – the veritable chalk and cheese. Between the two is Pietro's daughter (Blu Yoshimi) who also displays a marked lack of affect after the death of her mother. On the periphery to those three are the girls who intrude upon Pietro's solitary quotidian watch over his daughter's school: Marta (Valeria Gollino), his nervously unstable sister-in-law; Eleonora (Isabella Ferrari), the girl whom he rescued from drowning in the film's opening sequence; and the stunningly ravishing Jolanda (Kasia Smutniak), the young girl who insists upon walking her dog – and herself – closer to where Pietro sits, with every passing day. As Pietro sits and watches her, his gaze says us he's wandering into fantasy, without a doubt...And, from time to time, some of Pietro's colleagues from the office turn up to discuss office politics and the impending merger – capped, I might add, with a cameo from Roman Polanski as Steiner, the business mogul who wants to test Pietro to support with the merger.Except for one torrid, animalistic sex stage – simply a cry for connection between two lonely folks – this is a gentle storyline that's beautifully photographed around Rome and Lazio, Italy. The acting, especially from Moretti and Yoshimi, is without fault, I think; and Valeria Gollino everytime gives pleasurable viewing. The soundtrack is adequate; the pacing is in sync with a storyline that is very much about self-analysis and introspection i.e. some might think too slow – but the editing and direction hold the narrative moving well.So, play the views, the music, the shaded park, and the transient visitors as Pietro comes to terms with his loss. Highly recommended.



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