La messa è finita (1986)
Country: IT
Technical: Eastmancolor 94m
Director: Nanni Moretti
Cast: Nanni Moretti, Ferruccio de Ceresa, Marco Messeri
Synopsis:
Arriving fresh and optimistic from an idyllic country parish, a young priest is allotted a rundown church in the suburbs of Rome and disillusionment threatens from all sides.
Review:
An absorbing summary of the state of the nation after the turmoil of the 1970s, Moretti's film was certainly a significant one for Italians. His character's growing disenchantment, brilliantly conveyed by the actor, results in some trenchantly humorous scenes of desperation, as well as other more bitter ones. In spite of its contingencies the film tackles eternal questions: the dichotomy between solitude and freedom, and the hopelessness of romantic love, which tries vainly to recreate the maternal bond.
Country: IT
Technical: Eastmancolor 94m
Director: Nanni Moretti
Cast: Nanni Moretti, Ferruccio de Ceresa, Marco Messeri
Synopsis:
Arriving fresh and optimistic from an idyllic country parish, a young priest is allotted a rundown church in the suburbs of Rome and disillusionment threatens from all sides.
Review:
An absorbing summary of the state of the nation after the turmoil of the 1970s, Moretti's film was certainly a significant one for Italians. His character's growing disenchantment, brilliantly conveyed by the actor, results in some trenchantly humorous scenes of desperation, as well as other more bitter ones. In spite of its contingencies the film tackles eternal questions: the dichotomy between solitude and freedom, and the hopelessness of romantic love, which tries vainly to recreate the maternal bond.
Country: IT
Technical: Eastmancolor 94m
Director: Nanni Moretti
Cast: Nanni Moretti, Ferruccio de Ceresa, Marco Messeri
Synopsis:
Arriving fresh and optimistic from an idyllic country parish, a young priest is allotted a rundown church in the suburbs of Rome and disillusionment threatens from all sides.
Review:
An absorbing summary of the state of the nation after the turmoil of the 1970s, Moretti's film was certainly a significant one for Italians. His character's growing disenchantment, brilliantly conveyed by the actor, results in some trenchantly humorous scenes of desperation, as well as other more bitter ones. In spite of its contingencies the film tackles eternal questions: the dichotomy between solitude and freedom, and the hopelessness of romantic love, which tries vainly to recreate the maternal bond.