O Melhor Está por Vir

#Cannes2023# A film by a white old male director that far exceeded my expectations. It can be considered as a self-reflection and self-deprecating work from the usually narcissistic Moretti. He directed and acted in a movie that explores his journey from denial to ultimately admitting his creative decline, the irrelevance of his themes (at least to a diminishing audience), his inability to work without his wife "assistant" and the growing resentment from his crew towards his mansplaining . In the end, he also concludes with a false sense of hope, summarizing it as a lament for the leftist movements of the 1950s and acknowledging his inability to find a good ending. This self-analysis and sincere display of vulnerability moved me. There are countless directors in their old ages who have run out of creative juices, but not many can be this candid. Additionally, there are Fellini-esque elements throughout the film, with circus motifs and ensemble dancing, adding a touch of delightful nostalgia. @ Cannes Cineum Aurore.

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.

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.

I liked the film as a whole, Moretti is certainly someone who loves cinema and in general all the art of old Italy, you can see everything in the protagonist played and representing himself, but I can't fully understand the intent because I don't know well the real communist ideologies or the Soviet ones or the Italian Communist Party. But I can appreciate the desire to create well-made characters, in a world where cinema is produced only by big houses that do not grasp the essence of art in any way the protagonist lives his life completely in art, in his own art and in the art of others, and when he gets the chance he analyzes art in all the ways it's possible to do it and all he does is bring his art back to the screen, no matter the money, just instinctively as an artist, it's the first film I've seen by this director and consequently I don't know if it's below or above average compared to the others, but I give it a 7 because it's a film that has soul and the desire to tell something.

It is a film that tells about the loneliness of the director and the problems in filmmaking, and it does this well. However, I don't think the normal audience will be very interested. There are a few nice moments in the movie. For example, the groom scene and Netflix scenes were beautiful. In fact, I'm sure the Netflix scene happened in real life. Those who don't watch don't lose much. I also really liked the colors of the movie. I even thought the movie was dolby vision.