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Two of the highlights of the 2021 virtual edition of Open Roads: New Italian Cinema presented by Film at Lincoln Center and Istituto Luce Cinecittà are Salvatore Mereu’s adaptation of Giulio Angioni’s Assandira, starring Gavino Ledda with Anna König, Marco Zucca, and Corrado Giannetti, and Daniele Luchetti’s The Ties (Lacci), adapted from the novel by Domenico Starnone, with co-screenwriter Francesco Piccolo, which stars Alba Rohrwacher and Luigi Lo Cascio with Laura Morante, Silvio Orlando, Giovanna Mezzogiorno and Adriano Giannini.

Starnone’s novel begins with Vanda’s letters to her husband Aldo. She writes about how she feels and how she sees what he is doing to their family, which includes two small children, Sandro and Anna. “You want to isolate me, cut me out completely. And what matters most, you want to...

Marco Zucca as Mario and Gavino Ledda as Costantino in Salvatore Mereu’s Open Roads: New Italian Cinema highlight Assandira

Two of the highlights of the 2021 virtual edition of Open Roads: New Italian Cinema are Daniele Luchetti’s The Ties (Lacci), adapted from the novel by co-screenwriter Domenico Starnone, and Francesco Piccolo, which stars Alba Rohrwacher and Luigi Lo Cascio, and Salvatore Mereu’s adaptation of Giulio Angioni’s Assandira, starring Gavino Ledda with Anna König, Marco Zucca, and Corrado Giannetti. Film at Lincoln Center and Istituto Luce Cinecittà’s festival opens with Damiano D'Innocenzo and Fabio D'Innocenzo’s Bad Tales (Favolacce) this Friday.

Salvatore Mereu in Sardinia with his son Francesco Mereu (our translator) in Bologna and Anne-Katrin Titze in New York

In 2013, before the New York Open Roads Italian Cinema luncheon for the Rome delegation of filmmakers, which included Marco Bellocchio for Dormant Beauty and Daniele Cipri for It Was The Son,...

When many directors make movies in rural settings, one invariably senses they’re depictions by an outsider, someone who imagines a way of life that ultimately remains beyond their grasp. Instead, throughout Salvatore Mereu’s career directing stories from the Sardinian countryside, the feeling is always that he’s a part of that world. His films, from “Three-Step Dance” to “Pretty Butterflies,” take narrative gambles that acknowledge what’s unknowable, because only images and their juxtaposition, rather than words, can convey the dignity of tradition and the substance of the land.

“Assandira” is Mereu’s riskiest film to date, castigating the commodification of rural heritage in a way that keeps revealing unexpected depths, muddying any attempt at easy conclusions. It’s structured like a classic detective story, with an inspector arriving at an “agriturismo” (essentially a farm catering to tourists) to investigate a suspicious fire and the death of the owner.