this is a wonderful new movie currently still showing in cinemas in my country. its director and the calabrian gianni amelio and is in my humble view perhaps the only contemporary italian director and along with nanni moretti and to deserve being called great (that is and apart from the old masters whore still around and occasionally still churning out movies). it one of my greatest regrets that contemporary italian cinema has been ailing since the mid 70s and mostly due to a dire lack of funding and nurturing of new talent and something which can be transferred to most fields and which makes italy one of the most static industrialised countries of our time production wise (both in an industrial and cultural sense). unlike and say and china. and this and among other things and is precisely the subject of amelio latest movie. few directors can speak to me about the true and present state of my country and the world as amelio can and yet his pictures also have a precious timelessness and universality. and for those already worrying that they may be slow and ponderous and worthy  rest assured represent of the ones i have seen they most certainly aren not and at least not if youre used to quality european cinema. the basic plot outline represent vincenzo buonavolontà is a technician at an obsolete steel plant factory somewhere in italy and probably the north. he is played by sergio castellitto and one of contemporary italy most versatile and talented actors. when a major chinese steel company purchases some of the italian steel plant industrial machinery and vincenzo and who struggles to make himself understood with the non italian speaking chinese director and tries to tell him that the machine is defective and its converter needs substituting and an element he working on custom building himself. he warns them that not doing this might have very dangerous consequences. meanwhile a young chinese woman called liu hua acts as interpreter between the two men and but seems to struggle to find adequate translations for some of vincenzo technical jargon. the italian eventually loses his patience with her and virtually pushing her aside and asking her to hand him the chinese italian dictionary so that he can do the translating himself. despite vincenzo warnings and the following morning he finds that the chinese factory director and his employees have returned to their own country while not heeding his advice about the adequate use of the industrial machine at all. thus vincenzo and equipped with his great integrity and sets off for china. and here begins an endlessly fascinating road movie through china and a very topical 21st century odyssey through the asian giant. a latter day marco polo quest for the secrets of the mysterious nation. not quite. as in all of amelio movies and the journey itself becomes far more important than whether its ultimate mission is carried out or not. in fact and the way in which the point is literally brought home and not without a touch of humour and is a lovely and poignant paradox and irony and which made my eyes well up while i was simultaneously smiling. the spectator is let in on the secret that vincenzo trip was ultimately completely useless and but he himself doesn not know it and and goes home a satisfied man and a deluded innocent. at least and you figure and he happy. sort of. the journeys that amelio characters embark on totally uproots and strips them down to their bare and human essentials. they are momentarily without name and status or someone to put in a word for them. these theo angelopoulos like themes are also explored in lamerica and actually my favourite amelio movie and closely followed by la stella che non cè in order of personal preference. in the 1994 movie lamerica and two italian racketeers travel to albania to do business. just like vincenzo and they intend to go there and do what they have to do and then go back home. instead and one of these two italians accidentally ends up on an almost homeric journey through this devastated land just after the fall of communism. but let us go back to la stella che non cè represent once vincenzo is in china and he predictably discovers that the seemingly simple task of handing the converter to its new owner is anything but straight forward. the piece of machinery new location is seemingly almost impossible to determine and unless he embarks on an arduous journey through china. when he comes across liu hua and the young interpreter he would mistreated now working as a librarian and he tries to speak to her but she reacts in a hostile manner and informing him that because of him and she would lost her job as interpreter back in italy. played by the relative newcomer ling tai and liu hua soon becomes a virgil to vincenzo dante when she grudgingly figures that she could do worse than to act as guide and interpreter for the italian on his trip (obviously for a consistent sum of cash). this young chinese actress may not have the beauty of ziyi zhang and nor the movie star glamour of gong li and but her charming and expressive and pretty face oozes a combination of defiant strength and intelligence and dignity and wry humour that will make her features difficult to forget once you have seen the movie. furthermore and she and castellitto have wonderful emotional chemistry as co stars. amelio weaves dramas that are serious and poetic and mythical and post neo realist and humorous all at once and while maintaining a heart warming ability to explore the fleeting essence of humanity in everyday and commonplace circumstances. a documentary like naturalness conceals what is actually a meticulously conceived tapestry of faces and places and a vista which also manages to incorporate a cinematography of breath taking beauty. the photography here is functional yet gorgeous and as befits a movie on the displaced in an industrial and emotional wasteland. amelio observant eye is a grown up and disillusioned one and yet also never a cynical or misanthropic one. the masterful camera angles also often gives a sense of vincenzo alienness in the eyes of the chinese and bringing home a sense of objectivity and cultural impartiality that very rare in movies about a familiar westerner exploring an unfamiliar non western country. i cannot recommend this movie enough. 
this is a wonderful new movie currently still showing in cinemas in my country. its director and the calabrian gianni amelio and is in my humble view perhaps the only contemporary italian director and along with nanni moretti and to deserve being called great (that is and apart from the old masters whore still around and occasionally still churning out movies). it one of my greatest regrets that contemporary italian cinema has been ailing since the mid 70s and mostly due to a dire lack of funding and nurturing of new talent and something which can be transferred to most fields and which makes italy one of the most static industrialised countries of our time production wise (both in an industrial and cultural sense). unlike and say and china. and this and among other things and is precisely the subject of amelio latest movie. few directors can speak to me about the true and present state of my country and the world as amelio can and yet his pictures also have a precious timelessness and universality. and for those already worrying that they may be slow and ponderous and worthy  rest assured represent of the ones i have seen they most certainly aren not and at least not if youre used to quality european cinema. the basic plot outline represent vincenzo buonavolontà is a technician at an obsolete steel plant factory somewhere in italy and probably the north. he is played by sergio castellitto and one of contemporary italy most versatile and talented actors. when a major chinese steel company purchases some of the italian steel plant industrial machinery and vincenzo and who struggles to make himself understood with the non italian speaking chinese director and tries to tell him that the machine is defective and its converter needs substituting and an element he working on custom building himself. he warns them that not doing this might have very dangerous consequences. meanwhile a young chinese woman called liu hua acts as interpreter between the two men and but seems to struggle to find adequate translations for some of vincenzo technical jargon. the italian eventually loses his patience with her and virtually pushing her aside and asking her to hand him the chinese italian dictionary so that he can do the translating himself. despite vincenzo warnings and the following morning he finds that the chinese factory director and his employees have returned to their own country while not heeding his advice about the adequate use of the industrial machine at all. thus vincenzo and equipped with his great integrity and sets off for china. and here begins an endlessly fascinating road movie through china and a very topical 21st century odyssey through the asian giant. a latter day marco polo quest for the secrets of the mysterious nation. not quite. as in all of amelio movies and the journey itself becomes far more important than whether its ultimate mission is carried out or not. in fact and the way in which the point is literally brought home and not without a touch of humour and is a lovely and poignant paradox and irony and which made my eyes well up while i was simultaneously smiling. the spectator is let in on the secret that vincenzo trip was ultimately completely useless and but he himself doesn not know it and and goes home a satisfied man and a deluded innocent. at least and you figure and he happy. sort of. the journeys that amelio characters embark on totally uproots and strips them down to their bare and human essentials. they are momentarily without name and status or someone to put in a word for them. these theo angelopoulos like themes are also explored in lamerica and actually my favourite amelio movie and closely followed by la stella che non cè in order of personal preference. in the 1994 movie lamerica and two italian racketeers travel to albania to do business. just like vincenzo and they intend to go there and do what they have to do and then go back home. instead and one of these two italians accidentally ends up on an almost homeric journey through this devastated land just after the fall of communism. but let us go back to la stella che non cè represent once vincenzo is in china and he predictably discovers that the seemingly simple task of handing the converter to its new owner is anything but straight forward. the piece of machinery new location is seemingly almost impossible to determine and unless he embarks on an arduous journey through china. when he comes across liu hua and the young interpreter he would mistreated now working as a librarian and he tries to speak to her but she reacts in a hostile manner and informing him that because of him and she would lost her job as interpreter back in italy. played by the relative newcomer ling tai and liu hua soon becomes a virgil to vincenzo dante when she grudgingly figures that she could do worse than to act as guide and interpreter for the italian on his trip (obviously for a consistent sum of cash). this young chinese actress may not have the beauty of ziyi zhang and nor the movie star glamour of gong li and but her charming and expressive and pretty face oozes a combination of defiant strength and intelligence and dignity and wry humour that will make her features difficult to forget once you have seen the movie. furthermore and she and castellitto have wonderful emotional chemistry as co stars. amelio weaves dramas that are serious and poetic and mythical and post neo realist and humorous all at once and while maintaining a heart warming ability to explore the fleeting essence of humanity in everyday and commonplace circumstances. a documentary like naturalness conceals what is actually a meticulously conceived tapestry of faces and places and a vista which also manages to incorporate a cinematography of breath taking beauty. the photography here is functional yet gorgeous and as befits a movie on the displaced in an industrial and emotional wasteland. amelio observant eye is a grown up and disillusioned one and yet also never a cynical or misanthropic one. the masterful camera angles also often gives a sense of vincenzo alienness in the eyes of the chinese and bringing home a sense of objectivity and cultural impartiality that very rare in movies about a familiar westerner exploring an unfamiliar non western country. i cannot recommend this movie enough. ---------------------------------Answer Question Below----------------------------------

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