Il sol dell'avvenire

A Brighter Tomorrow, directed by Nanni Moretti, is a deeply introspective work that grapples with the challenges of aging, personal relationships, and the fading ideals of the past. The film weaves a meta-narrative as Moretti portrays a filmmaker struggling to complete a movie about the Italian Communist Party during the USSR invasion of Hungary in 1956, while also navigating the complexities of his personal life.

Moretti's performance is poignant, as he channels his characteristic wit and self-awareness to reflect on the inevitability of change. Margherita Buy and Silvio Orlando deliver nuanced portrayals, adding depth to the story's emotional layers. The interplay between Moretti's fictional and real-life personas creates a dialogue with the audience, blending humor and melancholy in a way that feels uniquely his own.

The film excels in its quieter moments, such as a scene where a reluctant young couple watches *La Dolce Vita*, a symbolic nod to the contrasts between generational attitudes. Moretti resists succumbing to nostalgia, instead embracing a tempered optimism that acknowledges the wounds of the past while looking toward the future. The sun may continue to rise, but it does so over landscapes marked by the scars of time.

A Brighter Tomorrow is not without its flaws-some viewers may find its self-referential approach too insular-but it remains a compelling exploration of resilience and the enduring power of art and connection.

Rating: 8/10 - A thoughtful and bittersweet meditation on change and perseverance.

Nanni Moretti creates a game of interpretations of himself by building a double vision of satire such as split screen, one with his narrator's voice, and in the other criticisms, ironies, melancholies, professional successes and private failures. A film within a film from the '50s to bear witness to the decadence of politics, while Giovanni mismanages his marriage, jeopardizing the film produced by his wife Paola. Everything is resolved with red flags in a parade with famous actors, Jasmine Trinca to with Renato Carpentieri during the march in a revival of the ideologies of the time. Maria Pia.

A film that's different from the usual, almost a metafilm into which other films are interwoven. Moretti talks to us about history, politics, love, violence, and physical decay. In some ways, it's also very autobiographical. Despite the many themes the director has inserted, everything flows smoothly towards an ending that leaves some threads of hope for the audience. I left the cinema feeling happy, despite everything. For this, I want to thank Moretti. At some point, it wasn't so obvious. The actors' performances were also great, especially those of Silvio Orlando and Margherita Buy, as well as Amalric's. In short, it's the usual Moretti film that never disappoints and I believe can be appreciated not only by an Italian audience but also an international one.

In "The Sun of the Future," Nanni Moretti reinvents himself as a consummate filmmaker, expressing his views on the political world, streaming platforms, contemporary cinema, his personal life, and his relationship with his partner more forcefully than ever before. This astonishing Italian comedy delves into the critique of all these aspects through the film that the main character (played by Moretti) is filming.

Compared to "Dear Diary" (1993), which was more personal and, if I may say so, somewhat egocentric, "The Sun of the Future" stands out for being exceptionally political and romantic. This film perfects the autobiographical approach the director explored in his previous work.

The film serves as a starting point for an important debate about independent cinema and the strategies it must employ to survive in the streaming era. Moretti criticizes the current trend in which movies are expected to lay out their entire plot within the first two minutes, an illogical formula in his perspective and characteristic of the senseless surge of streaming in recent years.

Ultimately, "The Sun of the Future" is a work imbued with an underlying sentiment: love. Love is the driving force and the brake in the entire narrative, a crucial element that can change things for better or for worse.

Someone asked me one day which person in history I would want to have lunch with. While Julius Caesar, Jesus Christ, Napoleon or George Washington may have been good candidates, I couldn't think of a name that appealed more to me than Nanni Moretti. Over the last 25 years, starting with the exceptional Palombella Rossa, Nanni Moretti has had an uninterrupted streak of masterpieces including Caro Diario, The Son's Room, The Caiman, We Have a Pope, Mia Madre and Three Floors, to name a few, which rank among the best films made in that time period, and make Nanni Moretti one of the greatest living filmmakers.

With that track record, I imagine Moretti could only disappoint. And disappoint he does with A Brighter Tomorrow. Don't get me wrong, we are still talking about one of the best filmmakers in the world, one that certainly knows how to make a good movie. But this one feels miles behind his other films. One of the things that hit you is how self-referential it is. From the name of the circus in the film (Budavari, a reference to Palombella Rossa) to the obsession with shoes (a reference to his earlier films, in particular Bianca) to a scene playing with a soccer ball (a reference to Caro Diario), it feels reheated, almost vain, from a filmmaker who always looked decidedly into the future. And this feeling of lack of ideas is made worse by abundant references to classic films, in particular those of Fellini.

In a way, these shortcomings arise from the subject of the film itself: it is ultimately about the gap between Moretti's values, represented by his films and his film culture, and today's world. But the issue is the message feels conveyed without passion, which has been the one constant in his filmography to this day. A Brighter Tomorrow therefore disappoints. We can only hope for Moretti's next film and remember all of his previous ones.