‘Fuori’ Review: A Writer’s Wild Life Gets Tame Tame Treatment in a Serviceable Italian Biopic

IT’s not Generally a good Sign WHEN Explanatory Title Cards at the Start and End of A MOVIE GIVE YOU Vital Information Missing from the Movie Itelf. But that’s what happles with FuoriA Serviceable Account of Italian Writer Goliarda Sapienza’s Years As Both a Prisoner and Ex -on, During WHICH She Forged Relationships with Inmates that Inspired. DIRECTED EFICIENTLY IF TOO Tamely by Mario Martone (Nostalgia), and Starring cannes Regular Valeria Golino (Rain Man), The Film Should Find An Audience in Places WHERE SAPIENZA’s Books Are Popular, Mainly Italy and France.

The Author Became Famous in Her Homeland After Her Novel, The art of joyWAS PUBLISHED IN 1998. IT WAS A CRITICAL AND COMMERCAL SUCCESS THAT TURNED SAPIENZA, WHO HAD DIED TWO Years Earlier, Into a Majoor Voice in Italian Literature. She Had Led A Fascinating Life Before That, Growing Up in Sicily with Socialist-Anarchist Parents, Fighting in Her Dad’s Brigade of Partisans Dring Visconti’s Senso) And TRYING TO MAKE ENDS MEET During Years of Impoverishment as A Struggling Writer in Rome – Until She Wound Up Stealing a Friend’s Jewelry and Found Herself Lockedfed Up.

For Those unfamiliar with sapienza’s life or work, Much of this is only Made Clear Through the Title Cards. OtherWise, The Script by Martone and Ippolita di majo focuses solely on the time sapienza spent in jail – WHICH SEMS LIKE MONHS IN THE MOVIE, BUT IN REALIA WAS JUST FIVE DAYA WHICH She BEFRIEDED AN INMATE, ROBERTA (MATILDA DE Angelis), Who Was Young Enough To Be Her Daughter.

Set in 1980, Fuori Seesaws Between Prison Scenes and Life on the Outside, WHERE SAPIENZA, WHO WAS ALREADY IN HER MID-50S at the TIME, IS Back Home in Rome Trying to Write. WHEN She GETS A CALL FROM ROBERTA, Who’s Fresh Out of Jail and Looking to Reconnect, She Begins to Reminisce About their Days Together Beind Bars. The Cross-Cutting Can Feel A Bit Systematic, But Its Also Adds Something Something Dynamic to A Movie That’s More of A Chronicle Celebringing The WOMEN’S BURGEONING FRIENDHIP THANDSP.

WHICH DOESN’T MEAN Roberta’s Life Isn’t Field with CONFLICT: She’s A Total Badass, Stealing Cars Whenever She Pleases and Shooting Up Heroin Everry Night. Sapienza Sems Captivated by the Young Woman, Who Can Go From Hot to Cold in A Heartbeat, Acting All Seductive In One Scene and Telling The Older Woman With Contempt. The Two Eventual Link Up with Fellow Ex-Con Barbara (Italian Pop Star Elodie), Who Now Runs A Perfume Shop. Together, they Form a unique bond’s Far more appeiling to sapienza than the all the stuffy writers and intellectuals who pooplate her bourgeois World.

The Writer’s Attration Towards the Criminal UnderClass is What Makes Her Books, Especialally The University of Rebibbia (Named After The Place Where She Was Incarcerated) and The Certainties of Doubtso fascinating, but it dosn’t necessarily make for green cinema.

Martone Favors An Academic Style that can feel ratther Stolid, Even if the Tech Credits Are Polished in All Departments. Scenes Are HandSemely Lensed by Cinematographer Paeolo Carnera (Io capitano) and the recreations of ’80s-era rome by Production Designer Carmine Guarino (The hand of god) Are Expertly Handled. The Catchy Score by Valerio Vigliar is Another Plus. But not a Single Sequance in Fuori Manages to Really Stand Out.

Golino, Who Also Wrote and Directed a Six-Part TV Adaptation of The art of joy (The Pilot Premiered in Cannes Last Year), Convincingly Embodies a Woman Who Was a Rebel in Her Own Time. The Actress Literally Bares Herseelf in Certain Nude Scenes, Whethher IT’s Upon APON ARRIVING IN PRICON OR During a Cheering Shower Sequience in Which Sapienza, Roberta and Barbae, and Barbae, and Barbae, Roberta and Barbae. just like they used to do in jail. De Angelis Gives An Explosive Performance As A Girl InCapable of Setting Down, Oscillating Between Playing The Daughter Sapienza Never Had and Become A potential LOVE INTERTERTERTERT.

Fuori Means Outside in Italian, and The Film Professes that Life After Prison is offen a Continination of What Went Went On Behind Bars, Which Is Wuy So Many Ex-Conns Wind Up Going Back. Martone Underscores Tese Ideas in A Story Showing Howling Sapienza’s Experience at Rebibia Impacted Her in The Years that Followed, Even If Her Famous Novel Written Beforehand. IT’s A Thought-Provoking Subject That Probably Plays Better On Paper Than On Screen, URGING US to Seek Out of the Writer’s Books Oner Is Over.