User reviews

From one of my favourite Italian director, Bernardo Bertolucci. Everyone must appreciate his passion towards film making. While lying in a wheelchair, he accomplished the desire of his fans than trying to do for fame or break the record. After a long gap, nearly a decade later he came up with this simple but wonderful heartwarming drama about a teenager boy. It was a great comeback for the southern living legend.

'Me and you' was based on a novel which centers around 15 year-old loner, Lorenzo. To escape the associate with others he fakes his ski trip and hid in his house's basement for a week long. Soon after his half sister, Olivia, finds out who is a junkie, later she joins him. They are mismatched half siblings who never met before. During the stay they come to know each other very well leaving all the family grudges away. The first step for Lorenzo to learn to mingle with others is with his half sister and for Olivia, her half brother helps to free from the drug addict. After a week they come into the real world like a newborn butterfly from the chrysalis leaving the past behind.

It was a sweet little cast movie which most of the movie takes place in the basement. I did not get it why there's lots of dislikes of this movie. There are many things in the story to understand, you won't require a close observation to get it. I am totally surprised, is critics are that fool for not getting the movie right. Like I always say ignore the critics and decide yourself. For me it was a cute movie which made me to understand a slice of life.

Bernardo Bertolucci did all kinda experiment in his movie characters and relationship. When I saw this movie poster for the first time I thought it could be portrayal of some teenager's sexual experience like the movie 'The Reader'. But I was wrong, 'Me and you' went beyond I anticipated and became a meaningful tale of the two young people. I know the movie won't entirely satisfy for one because of a subject that won't explore in deeper, I mean in detail. But worth mentioning the performances by the lead two as well the direction of Bernardo Bertolucci Next time we hope he will make two times better than this, maybe another masterpiece.

7.5/10

Lorenzo, a 14 year old boy, pretends to embark on a school trip to a ski resort and takes refuge in the basement of his building. When his step sister suddenly appears, the experience of both will become unforgettable.

The last feature film by Bernardo Bertolucci, the director who gave us The Last Emperor and The Last Tango in Paris.

It's essentially a film about the social pressure that teens are facing nowadays, and how they deal with this problem (Bertolucci was already 73 years old, the topic was a bit risky for him), and the final result is an ok film, but far from being memorable.

The story lacks on the characters background, but it does have what it takes to keep it from being tedious, thanks to the performances of Jacopo Antinori and Tea Falco.

The fact that only scratchs the surface of the issues and problems of the characters makes it difficult to connect with them.

"I'm stepping through the door. And I'm floating in a most peculiar way. And the stars look very different today." – David Bowie, Space Oddity Coming of age can mean many things: sexual awakening, a religious or cultural ritual, or even achieving an academic or artistic goal. In Bernardo Bertolucci's intimate drama, Me and You, however, it is the time when a young man is able to see the world for the first time from a point of view other than his own and learns to give of himself to another human being. Based on a novel by Niccolò Ammaniti, the same author whose novel was the basis for Gabriele Salvatores' 2003 film I'm Not Scared, the film, Bertolucci's first since The Dreamers in 2003 and his first made in Italy in thirty years, is the story of Lorenzo, an isolated fourteen year old boy (Jacopo Olmo Antinori), and Olivia (Tea Falco), his older half-sister, a heroin addict, who inadvertently discover they need each other more than they ever thought possible.

The film opens in the office of a psychiatrist. The first image we see is Lorenzo bent over a chair, prominently displaying his huge mop of black hair while the therapist, confined to a wheelchair (as is Bertolucci), tries to find out what he means when he describes everything as "normal." We never find out what the issues are that led him to the doctor's office, but meeting his overbearing mother, Arianna (Sonia Bergamasco) in the following scene gives us a clue. After telling her at dinner in a restaurant that he wonders whether people are looking at them as lovers because of her youthful appearance, Lorenzo fantasizes out loud about having sex with his mama if they were the sole survivors of a holocaust and needed to repopulate the planet. Embarrassed, she tells him to be quiet but with sort of a glint in her eye.

"If it was a boy, what would you call him?" he asks her but does not get a response. Lorenzo is about to go on a ski trip with his school but it is obvious that he is not keen on the idea, especially when he sees his classmates socializing together outside of the bus. Demanding that his mother drop him off several blocks away so he won't be driving up with his "mommy," it seems as though he has already made up his mind not to go. Using the money given to him for his ski trip, Lorenzo buys enough provisions (including obvious product placements) for seven days.

Carefully avoiding being spotted by the building superintendent, he moves into the hot, crowded basement of his apartment house with his junk food, laptop, an ant farm he purchased for the occasion to keep him company, and a copy of Anne Rice's The Vampire Lestat, translated into Italian. Lorenzo's peace and quiet is soon disturbed, however, when his half-sister Olivia, a former artist and photographer, shows up asking for a place to stay while she tries to kick her drug addiction "cold turkey" in preparation for meeting her lover in the country. Although the affection they first show each other would not make a very good love story, they gradually grow closer as he begins to move beyond his own concerns.

Lorenzo tries to help Olivia get through her heroin withdrawal symptoms, caring about her health while bringing her food and sleeping pills.Through their interaction, he seems to grow in self-confidence and peeks out of his shell to see that there is a world outside of his cocoon. Though there are painful moments, Me and You is not a dark film but one that is brightened by the potential of two damaged souls coming together and experiencing love. Olivia tells him that she is a Buddhist and that the reality is that they are one and only their point of view keeps them apart, a sentiment movingly apparent when they dance together to the David Bowie song Space Oddity, translated into an Italian version.

Me and You is a small film but a lovely one, without clichés or pretensions, a film that draws you into its characters and allows you to feel that you have made some good friends. Apropos of the film's title, Bertolucci takes us all the way from a "me or you" world to one that has a place for "me and you," one that is inclusive and filled with beauty, and in which we know that, for Lorenzo and Olivia, nothing will ever again be "normal."

I like it. it is not a revelation/surprise/piece from Bertolucci chain. it is only a common story about family, about a meeting and refuges. and nothing more. a delicate picture about small significant things. interesting young actors and waters of a special atmosphere. realistic, gray, circle of nuances, seductive and almost real beautiful, it is a mixture of ordinary life crumbs and a strange poem. a teenager and his sister. dialogs, feelings, silences. and a Bertolucci after experiments, storms, scandal. because, after an extraordinary trip, it is time for reflection. a film like a box with surprises. first - Jacopo Olmo Antinori in a promising role. then - Tea Falco. so, it is not a bad idea to see it ! not for director or for cast. but for a meeting with art to transform in movie few common pieces from common life.

Briefly: how to spoil the whole movie with one scene. In fact, we had to be prepared that he would shove here too something typical for him. With reason of/for.. Why? Thank for the fact that at least the film lasted only an hour and a half In addition to the "unnatural" kiss, then half of the film was waiting for someone to screw up in the shower or somewhere else and at least some "action", some "drama", would be brought into the film. "Cigarettes".. Which were quietly returned to the owner? What author want to say???

As a result, what conclusion should we draw at the end.. Not clear. The movie for the sake of movie.

I saw this film at the Rotterdam film festival 2013, within the Spectrum section. I was not thinking much of it when reading the synopsis on the festival website, imagining the confinements of the plot: watching two people in the basement, lasting nearly 2 hours. But someone else made the choice for me to book tickets anyway. I'm glad to it, and admit wholeheartedly that my prejudice was in error.

Firstly, the young actor who plays the 14-year old boy, does a formidable job. He is believable throughout as a boy who does not interact smoothly with the world, passing the day with his own solitary hobbies. Instead of going on a ski camp with his schoolmates, he dutifully prepares staying in the basement for a whole week, and takes a lot of trouble not to tell a soul about him hiding there. He wants to be left alone; that is very clear from the start.

Secondly, his unexpectedly visiting half-sister is also remarkable in how she interacts with the boy. She pressures him to allow her in while having no place else to stay. She visibly suffers a cold turkey after her heroine addiction, a painful process she has solid reasons to go through, and to come out of it clean. She wants to regain her former life as a successful photographer, and to reunite with a former friend she knew years ago. In spite of not having personal experience with recovering from a drug addiction, I have the impression that the whole painful process is shown very well. It is one of the reasons bringing brother and half-sister closer together. They do not become intimate in the literal sense (Is that a spoiler? Did you expect it?), as far as we are able to observe. In spite of their differences in age and street wiseness, a certain form of mutual understanding is definitely reached.

The story develops slowly but steadily, and has no boring moments whatsoever. Ample variety is brought in, by including a few scenes outside the basement, and other albeit short interactions with some outsiders. Another plus is that the story does not develop in the most straightforward direction. For example, there is not even a hint that one of them wants sex with the other, as would be assumed by everyone reading the synopsis. Their situation is difficult, to say the least, and discovery is always lurking around the corner.

All in all, I'm not disappointed in the end result. It may not par up with some monumental films that Bertolucci made many years ago, but can that be construed as a problem?? Casting and acting can make or break a scenario like this, in this case with great success. The story left us with an open end, but I think that there was no other way, so also not a problem. This film ended 13th (out of 178) for the audience award with an average score of 4.401 (out of 5) from 1,524 votes.

I bit late to the party, but Bertoluccis latest(last) effort is a fine one indeed. This movie is a celebration to human relationships, and the potential in them for change. Why face the immediate hardships of life when you can be an angry spectator. Why have human relationships when they can hurt you. Why open up, when there is pain and suffering. Why need others when alone you are in control. This film tells you why.

This odd coming of age film set in an cellar describes the process of a relationship where in the end you feel like change is possible. This is a beautiful feeling indeed. And I thank Bertolucci for this.

See this film.

It could have been a sort of explosive mix between Last Tango in Paris (seclusion) and la Luna (incest, drug-dependence, difficult teenager). A teenager and his older half-sister secluded in a basement for a week get to know each other for the first time. But Olivia's too busy going cold turkey with heroin and Lorenzo lacks audacity. He also suffers from narcissism, so he's not particularly inclined to let go and explore. So no sex, no kinkiness, no demolition of bourgeois values, no anarchy of bodies and minds. All this adds to the realism of the movie, but leaves you a bit disappointed if you expect a Bertolucci-like cinematic experience. I honestly expected to be shocked and disturbed one more time, with style and good taste of course. Instead, the result is quite bland. Certainly, it has its good moments and shots, but the acting leaves much to be desired and the atmosphere is somewhat post-revolutionary.

Me and You (Io et Te): Bertolucci's last film, while it may seem insubstantial the touch of a master is still there. Most of the action occurs in a basement - an introverted 14 year old, Lorenzo (Jacopo Olmo Antinori) , pretends to go on a school ski trip but hides in his apartment building's cellar. Then his 25 year old half-sister Olivia (Tea Falco) arrives, having nowhere to stay, she doesn't get on with her stepmother. They hang out together in a storeroom containing the contents of the apartment's previous owner, a Russian Countess.Problems pile up as Olivia is a heroin addict trying to go cold turkey. A touching film which offers hop for the futures of both of the protagonists ( great performances by Falco and Antinori) but certain threats remain. Directed and Co-Written by Bernardo Bertolucci. 8/10.

his mark defines each scene. but different by your expectations. because it has the virtue to be more than a version of others films by him. because it is not exactly a manifesto or example of fall of rules, or demonstration of sensuality. in a special sense, it is a poem. about solitude, about words, about evolution of a meet and about the reflection of the other in yourself. a boy, a girl and a basement. confessions , memories and a link who is defined by different changes. and a form of tenderness who escapes from ordinaries definitions. because nothing provocative or strange or eccentric is present. so, a special film. or, maybe, a different Bertolucci.

Bernarod Bertolucci's final film feels more like the movie of a younger director: it's protagonists are youthful, the budget is low and there are few special effects or tricks, the story is simple and not overcooked. But I liked this tale of a shy teenager who camps out in a basement when supposed to be going ski-ing, and who gets a shock when his troubled sister turns up. Parts of what follows are a little cliched, but the basic feel of the film imparts a sense of honesty and genuineness. I liked it a lot, although it's a long way from 'The Last Emperor' or 'Last Tango in Paris'.

Huh. I guess this is one of those films that I probably like more than a lot of others (at least those who have seen Me and You outside of the US, here it never got an official release after a very limited run in NYC in 2014 I missed). Bertolucci, in his mastery with an eye that feels alive without being outlandish, manages to convey that extremely intense, sometimes confused, always passionate, vulnerable, stupid, immature sense of one's self and the world around when one is at 14 years old.

Maybe it is just from my time as a dipshit loner 14 year old, certainly not always in agreement with my parental units, who felt most at peace - or actually in unrest but at least it can be an escape inside - witp rock music and a pair of headphones (I didnt have the ant-farm though, or the Armadillo, poor little guy hope he or she wad OK, I digress). Or maybe it's the honest, definitely uncomfortable, almost pathological depiction of a love-hate bond with a sibling who can seem so bright and wise one moment and is a furnace of bile the next (the addiction and withdrawal, like a quarter of this film is a young lady withdrawing cold turkey and Tea Falco is committed to a 1000% and God bless her for it).

The film is limited by being set largely in a basement, but again the camerawork is always curious and active and definitely on edge, like you can feel through the lens choices there's unbridled hormones and a love for 80s and 90s rock glowing through it all, and while I don't know if I'd call Olmo Antinori as profound a performer as Bertolucci has had in his career that's also a tall order to reach up to. For what he's asked to do here, which is to play an angry introvert who doesn't know what to do with himself and slowly comes out of his angst-addled and probably OCD packed shell, he commits to the bit and is compelling.

I can get why some seem to be annoyed by his acting (or in part the character himself) since he is yelling a lot and acting out, but I found a strange empathy with him despite (or partly because) of the small scale yet still extremes of the premise of the story; it's about being okay with the troubles that go through your mind every day, especially if it's not all that complicated (he seems to live a fairly decent middle class upbringing), and sometimes an outside perspective is the only way to change.

I don't know if Lorenzo changes by the time we get that 400 Blows inspired final freeze frame, though I don't think Bertolucci means to suggest he is in as much despair as Antoine Doinel. On the contrary, he seems to have more of a look like (can't believe this just popped in my head) Peter Parker in Spider-Man 2 at the end of the "Raindrops" montage. What will worry him now?

He's gone through a helluva week he didn't expect to have with his half sister - and for the record, no incest, in case you were wondering considering some of the director's past work (from Before the Revolution to the Dreamers), he and I assume the author of the book are after a more fundamental exploration of a sibling push and pull than that reduction - and he's come out the other end understanding himself better. Maybe. Or at least her. And that life is not going to get much easier so time to "grow up." If the film does get so anxious like its character a couple of times, it helps that it all comes together in the last twenty minutes or so.

Not a great final film, but a good one and I'm glad I finally got to see it and be one of maybe dozens I tell you dozens of voices that say it's worth a look, especially if you've gone so far into Bertolucci's body of work that just a couple of the obscurities are left. And now I'm in the mood for some Red Hot Chili Peppers!