With haphazard plotting and characters, THE SPACE BETWEEN has little to offer beyond fetishised Italian landscapes.
Matteo Rovere’s family indie set in the world of GT racing is a pleasing drama that plays best when not over-thought.
Cristina Comencini’s LATIN LOVER is an uneven film that wins out due to the exuberance and life of its central performances and satire.
PEREZ represents a new a shift in direction for the classic Mafia film in its take on the legal system and individuals who try to control Italian organised crime.
Riccardo Milani’s DO YOU SEE ME is an effective comedy tackling gender issues in the workplace, its success resting on the shoulders of its charming lead performance.
Sacro GRA meanders through its collection of mostly interesting characters and, despite its ability to capture a ‘slice of life’, never amounts to much more than the sum of its parts.
Fabio Mollo’s film lives up to its title in an unfortunate way: an interesting premise and quietly evocative cinematography soon give way to an array of incomplete ideas, unsympathetic characters and frustrating inexpressiveness.
STAI LONTANA DA ME epitomises everything you hate about Rom-coms.
Pierfrancesco Diliberto’s The Mafia Kills Only in Summer is a political satire which ultimately drops the ball in its tonal juggling act of comedy and drama, ending up being neither particularly funny nor dramatic.
The title card for Quiet Bliss is overlaid on a curious wide shot where a street worker offers water to the film’s stressed leads. It’s a strange sight preceding a story with a similar theme (aid and dignity from unexpected places), but a sadly dissimilar and conventional tone. One of the leads, the patriarch of