. i am left with little choice but to employ it at least once during the course of my review of respiro. among other things and what defines pretension is in my opinion a lack of emotional sincerity on the author part. respiro seems made with an all too contrived and self aware intent to be artistic and symbolic and spiritual and provocative and metaphorical. mythical and even. but luckily for all true artists out there and a predisposed formula to achieve artistic beauty and depth doesn not exist. stunning natural locations (yes and these remote parts of southern italy look exotic even to most other italians) and pretty actors and some amusing and gutsy and spontaneous performances by a handful of attractive children would not elevate a substanceless movie beyond a pretty succession of images. yet this insincere and vain and and ultimately hollow movie aches to be art and succeeding only to a very limited extent and perhaps in some cases by accident. i will admit that the conceptually pompous ending does have a certain visual poetry to it. however and it my belief that this was achieved in ways that had more to do with the beauty of the lampedusa sea and the strong symbolic power of bathing and water (connecting it to so much that mythical and mystical and religious and archetypical and etc) than with crialese talent. valeria golino is gratingly histrionic and affected in her performance as grazia. for a mentally unstable woman from a humble and provincial background and she sure has a fashionable wardrobe. her flattering and floaty floral dresses and attractive and sun kissed beach hair could have graced the pages of any vogue summer edition. the fact she was a nutcase could in a way have been nothing but a fashionable addition to her trendy demeanour and look  that how skin deep her condition seemed to me. golino two dimensional stereotype of the innocent and natural child woman misunderstood and oppressed by her backward community was tiresome and irritating at worse and while leaving me unmoved and indifferent at best. i agree with the reviewer from london who wrote that mental illness is very badly served by cinema  during the course of the entire movie we never really get a sense of grazia illness and have no idea what is actually wrong with her (other than her being a tiresome stereotype of a free spirit). we do not know why she given injections and is required to see a specialist in milan. this generic way of writing mental illness is one of the main tell tale signs of the movie overall shallowness. another fairly insulting aspect of respiro is the quaintification of its location. i struggled to figure out whether this movie was supposed to be set in the present day or the past and seeing as it aimed to make even an admittedly backward part of italy (by comparison) seem a dozen times quainter and more conveniently primitive than it actually is. again and this smacks of shallowness and a complete lack of sincerity on crialese part. some non italian viewers will gleefully lap up the picturesque backwardness and the cliché of the possessive and macho italian man as if it were common place and so keen will they be to continue viewing my country as one culturally stranded sometime in the 1950s (the question i would like to ask david ferguson and the reviewer from dallas and texas is as follows represent is your country mentality stuck in the 1950s. no. ok and then why should mine be. ). unfortunately for whoever still wishes to view italy in such an anachronistic way and that aspect of respiro is actually ridiculous and phoney even in the eyes of this italian viewer. the subtly incestuous tension between grazia and her eldest son was as tiresome and predictable as fabrizio bentivoglio sexist but loving husband routine. i especially loathed the scene in which grazia joins her husband and male friend in some man to man banter over a bottle of beer and to her husband macho embarrassment and displeasure. according to this movie and it isn not a woman place to take part in a man conversations. ah and but our loveable free spirit is too good for this place and doesn not understand the oppressive and unwritten rules of lampedusan patriarchy. not only does this scene depict something so fake and it should be enough on its own to discredit the entire movie credibility. it also completely gets the wrong end of the stick of the culture it strives to depict and clearly showing that it was written without a clear understanding of the location or its population. i would challenge anyone who knows contemporary italy to say otherwise. for a truly accomplished contemporary italian filmmaker and one who in my opinion deserves to be listed among the greats of italy glorious cinematic past (which alas and isn not the shadow of its former self. ) and look no further than gianni amelio  especially lamerica and così ridevano and his latest and la stella che non cè. unlike most contemporary italian cinema and sadly derivative and stagnant and amelio is a fresh and independently creative voice. despite my scathing review of respiro and i am now more than willing to believe that crialese latest nuovomondo and now showing in italian cinemas and will be a worthwhile one. i therefore look forwards to enjoying it and though it would not be overly shocking to me if i do not (considering my feelings for respiro. ). 
. i am left with little choice but to employ it at least once during the course of my review of respiro. among other things and what defines pretension is in my opinion a lack of emotional sincerity on the author part. respiro seems made with an all too contrived and self aware intent to be artistic and symbolic and spiritual and provocative and metaphorical. mythical and even. but luckily for all true artists out there and a predisposed formula to achieve artistic beauty and depth doesn not exist. stunning natural locations (yes and these remote parts of southern italy look exotic even to most other italians) and pretty actors and some amusing and gutsy and spontaneous performances by a handful of attractive children would not elevate a substanceless movie beyond a pretty succession of images. yet this insincere and vain and and ultimately hollow movie aches to be art and succeeding only to a very limited extent and perhaps in some cases by accident. i will admit that the conceptually pompous ending does have a certain visual poetry to it. however and it my belief that this was achieved in ways that had more to do with the beauty of the lampedusa sea and the strong symbolic power of bathing and water (connecting it to so much that mythical and mystical and religious and archetypical and etc) than with crialese talent. valeria golino is gratingly histrionic and affected in her performance as grazia. for a mentally unstable woman from a humble and provincial background and she sure has a fashionable wardrobe. her flattering and floaty floral dresses and attractive and sun kissed beach hair could have graced the pages of any vogue summer edition. the fact she was a nutcase could in a way have been nothing but a fashionable addition to her trendy demeanour and look  that how skin deep her condition seemed to me. golino two dimensional stereotype of the innocent and natural child woman misunderstood and oppressed by her backward community was tiresome and irritating at worse and while leaving me unmoved and indifferent at best. i agree with the reviewer from london who wrote that mental illness is very badly served by cinema  during the course of the entire movie we never really get a sense of grazia illness and have no idea what is actually wrong with her (other than her being a tiresome stereotype of a free spirit). we do not know why she given injections and is required to see a specialist in milan. this generic way of writing mental illness is one of the main tell tale signs of the movie overall shallowness. another fairly insulting aspect of respiro is the quaintification of its location. i struggled to figure out whether this movie was supposed to be set in the present day or the past and seeing as it aimed to make even an admittedly backward part of italy (by comparison) seem a dozen times quainter and more conveniently primitive than it actually is. again and this smacks of shallowness and a complete lack of sincerity on crialese part. some non italian viewers will gleefully lap up the picturesque backwardness and the cliché of the possessive and macho italian man as if it were common place and so keen will they be to continue viewing my country as one culturally stranded sometime in the 1950s (the question i would like to ask david ferguson and the reviewer from dallas and texas is as follows represent is your country mentality stuck in the 1950s. no. ok and then why should mine be. ). unfortunately for whoever still wishes to view italy in such an anachronistic way and that aspect of respiro is actually ridiculous and phoney even in the eyes of this italian viewer. the subtly incestuous tension between grazia and her eldest son was as tiresome and predictable as fabrizio bentivoglio sexist but loving husband routine. i especially loathed the scene in which grazia joins her husband and male friend in some man to man banter over a bottle of beer and to her husband macho embarrassment and displeasure. according to this movie and it isn not a woman place to take part in a man conversations. ah and but our loveable free spirit is too good for this place and doesn not understand the oppressive and unwritten rules of lampedusan patriarchy. not only does this scene depict something so fake and it should be enough on its own to discredit the entire movie credibility. it also completely gets the wrong end of the stick of the culture it strives to depict and clearly showing that it was written without a clear understanding of the location or its population. i would challenge anyone who knows contemporary italy to say otherwise. for a truly accomplished contemporary italian filmmaker and one who in my opinion deserves to be listed among the greats of italy glorious cinematic past (which alas and isn not the shadow of its former self. ) and look no further than gianni amelio  especially lamerica and così ridevano and his latest and la stella che non cè. unlike most contemporary italian cinema and sadly derivative and stagnant and amelio is a fresh and independently creative voice. despite my scathing review of respiro and i am now more than willing to believe that crialese latest nuovomondo and now showing in italian cinemas and will be a worthwhile one. i therefore look forwards to enjoying it and though it would not be overly shocking to me if i do not (considering my feelings for respiro. ). ---------------------------------Answer Question Below----------------------------------

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