{"id":16491,"date":"2018-07-18T14:02:49","date_gmt":"2018-07-18T12:02:49","guid":{"rendered":"https:\/\/leregardlibre.com\/?p=16491"},"modified":"2025-12-04T22:40:14","modified_gmt":"2025-12-04T21:40:14","slug":"amori-please","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/en\/cinema\/films\/amori-ma-per-favore\/","title":{"rendered":"\u00abAmori\u00bb, ma per favore!"},"content":{"rendered":"

Cinema Wednesdays - Loris S. Musumeci<\/em><\/p>\n

\u00abRather than get back together with you, I'd rather kill myself.\u00bb<\/p>\n

Claudia and Flavio fall in love. Or rather, it's Claudia, an overexcited and sentimental literature professor, who falls in love with Flavio, also a literature professor. Love at first sight occurs at a university conference. \u00abI think I've fallen in love with you,\u00bb she tells him quickly in their first t\u00eate-\u00e0-t\u00eate in a restaurant. Surprised, Flavio allows himself to be seduced.<\/p>\n

<\/p>\n

But the relationship quickly devolves into what you might call psychosis. She wants to get married, she wants a child; she wakes her partner up in the middle of the night to tell him this over and over again; she cries for two hours; she runs off into the countryside. And it\u2019s the same story every night. The poor girl seems truly distraught. Naturally, this toxic relationship comes to an end. They both go back to their own lives, each on their own, yet never forgetting one another, never truly happy.<\/p>\n

Stupid and pointless<\/h3>\n

You have to admit that the song Testaccio\u00a0<\/em>by Marcello Murru, featured in one scene of the film, is quite pleasant to listen to. It\u2019s also easy to agree that the landscapes of the Roman countryside are sublime, with their cypress trees, fields of poppies, and pale yellow sunlight that bathes them in a very special glow. And that\u2019s that. Everything positive that could be said about\u00a0Amori<\/em>- Loves That Can't Find Their Place in the World\u00a0<\/em>is the full title\u2014it was said.<\/p>\n

Besides, the director, Francesca Comencini, doesn\u2019t have much to do with it. At most, she pointed her camera at landscapes that command the viewer\u2019s attention, and she may have good taste in music. Yet the daughter of the excellent Luigi Comencini\u2014who is an integral part of the great history of Italian cinema\u2014may not be entirely without talent. She co-directed the hit series about the Neapolitan mafia Gomorrah \u2013 The Series\u00a0<\/em>who is successful and comes across rather well. But Amori\u00a0<\/em>is, unfortunately, stupid and pointless. Going to see it is a guaranteed waste of time.<\/p>\n

Please!<\/h3>\n

While not entirely reassuring, the opening doesn\u2019t yet foreshadow the disaster the film will very quickly become. Claudia\u2019s character is almost endearing before she becomes unbearable. The opening scene featuring a hysterical woman in the throes of anxiety and the scene\u2014also early on\u2014in the restaurant where they actually talk to each other for the first time aren\u2019t very funny, but they might, at a stretch, elicit a small smile. More successful is the scene of the nighttime crisis: \u00ab\u2014We\u2019ve ruined our lives! \u2014Yeah, okay, but I need to sleep now.\u00bb That one, yes, makes you laugh. But you have to admit that three more or less funny moments for a so-called comedy is not much, is it?<\/p>\n

And yet, laughter shouldn\u2019t be a criterion. The problem is that not only does the film lack humor entirely, but on top of that, it\u2019s not at all interesting; it quickly becomes boring, and even more tedious still; it\u2019s annoying, of course; it\u2019s an embarrassment to women, Italy, and cinema; and it\u2019s extremely vulgar. \u00abMa per favore!\u00bb is what Italians would say to express their disdain for such a feature film.<\/p>\n

At times, the director\u2019s imagination seems to kick back into gear. Perhaps because she herself is bored during filming. So at certain points in the film, we witness botched eroticism or pathetic pornography featuring people in their fifties who struggle a bit in theact because of their age and let out little cries that sound more like those from hospital beds than from marital beds.<\/p>\n

Of course, we had to include in the masterpiece that is Amori\u00a0<\/em>A lesbian love scene. It\u2019s not entirely clear what it\u2019s doing there\u2014it doesn\u2019t really make sense\u2014but hey, it\u2019s always better to include one; you never know, it might come in handy. Plus, it looks good. It feels modern and incredibly bold in an Italy that is, unfortunately, still horribly patriarchal, conservative, and Catholic\u2014which, incidentally, isn\u2019t even true anymore. \u00abMa per favore!\u00bb<\/p>\n

The Heterocapitalist Economy<\/h3>\n

Let\u2019s not forget, either, that we\u2019re dealing with a romantic-feminist comedy. So the brave Francesca Comencini and her sharp wit, taking their mission to heart, take matters into their own hands and deliver a magnificent lesson in black-and-white feminism in a university lecture hall where Claudia and Flavio teach. There, they explain beautiful and edifying theories such as that of \u00abhetero-capitalist economics.\u00bb According to the young professor teaching this fictional course, \u00abin the sex market\u00bb women age much faster than men, and that\u2019s unfair. It\u2019s all fantastic! Thus, the film demonstrates with relentless logic that women are constantly frustrated sex beasts. And yes, because we\u2019re also told that they never orgasm with a man. \u00abMa per favore!\u00bb<\/p>\n

And then, since Claudia is a cultured woman, we must indulge in a eulogy to literature\u2014one of incredible mediocrity: the so-called great teacher\u2019\u00a0<\/em>highlights a few clich\u00e9s that Italian women will be able to read this summer on the beach in the celebrity magazine Chi<\/em>, equivalent to the Here is <\/em>French-speaking. In addition, a small student revolt is brewing at the university for about two minutes. Why? We don\u2019t know. In any case, thank goodness the script has Claudia utter some very original exhortations, such as: \u00abYou must fight to have your rights respected.\u00bb \u00abMa per favore!\u00bb<\/p>\n

There are other absurdities and blunders worth pointing out, but the film is already its own critique; there\u2019s no need to heap more on it. Out of courtesy and in the spirit of\u2019italianit\u00e0<\/em>, it\u2019s best to leave it at that and look forward to Comencini\u2019s next film, which is sure to be even better.<\/p>\n

\u00abYou'll see, this time I'll be happy.\u00bb<\/p>\n

Write to the author : loris.musumeci@leregardlibre.com<\/a><\/em><\/p>\n

Photo credit: \u00a9 Xenix Film<\/p>","protected":false},"excerpt":{"rendered":"

Les mercredis du cin\u00e9ma \u2013 Loris S. Musumeci \u00ab\u00a0Plut\u00f4t que me remettre avec toi, je pr\u00e9f\u00e8re me tuer. \u00bb Claudia…<\/p>","protected":false},"author":18,"featured_media":510015,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[644355829],"tags":[31254,233638,14227,644341146,67793,94209,644339206,82290,9641],"class_list":["post-16491","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-films","tag-amour","tag-campagne","tag-comedie","tag-critiques-cinema","tag-feminisme","tag-femmes","tag-gomorra","tag-italie","tag-rome"],"acf":[],"yoast_head":"\n\u00abAmori\u00bb, ma per favore!<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/leregardlibre.com\/en\/cinema\/films\/amori-please\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00abAmori\u00bb, ma per favore!\" \/>\n<meta property=\"og:description\" content=\"Les mercredis du cin\u00e9ma \u2013 Loris S. 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