Elsa, a woman of a certain age, has been completing her thesis about a minor painter whose work she has been helping to restore. The jury hearing her dissertation is clearly pleased with her findings. Elsa, who is apparently happily married to Michele, an apparent successful executive, is in for a surprise when she gets home. Michele has prepared a party without her knowledge. What Elsa is not ready is for the news she is about to receive from her husband after the festivity is over.
Michele has been out of work for a couple of months. Their upper middle class status is about to crash because they have nothing saved for times like the one they are about to face. Michele, who learns about a position in a lower salaried position, wants to give it a try, but Elsa, thinking their situation is only temporary, feels something better is about to happen sooner, rather than later.
Elsa is furious when Michale confesses. Why go along with a deception they cannot afford. When reality sets in, she decides to apply for a telemarketing position selling creams to bored housewives on the phone. Michele, on the other hand, has no leads, or prospects in the horizon. Taking a job as a messenger, delivering small packages, takes him into an area where his daughter Alice discovers him riding a motorcycle to her complete shock and dismay.
With the help of two former employees, Michele decides to redo the new apartment where he and Elsa are forced to live after selling their own, more palatial home. They are approached by tenants in the housing complex that see an affordable way to get their apartments more livable. Elsa, in turn, finds another part-time job as a secretary for an executive of a shipping company, something that will make her vulnerable to the advances of her younger boss. Elsa and Michele's union seem to be heading for divorce, or at least separation. Fortunately, they find that in spite of all the things that have got in their way, they cannot live without one another.
Silvio Soldini, whose "Pane e tulipani" impressed us, is at it again with this story that recalls other films about the same subject. What distinguishes this picture from the rest is the well written story Mr. Soldini and his collaborators created for his audience, notably the intense performances by Margherite Buy, one of the best actresses working in the Italian cinema today, and Antonio Albanese, who makes a dramatic turn from his usual comedic roles.
The director takes us to meet a couple during a crisis. We are drawn into their plight because both Elsa and Michele are real people whose pain is about to consume them. Fortunately for them, they find strength in their predicament when some other couple would have packed it in as their predicament becomes all too evident.
Genoa is captured in all its splendor by cinematographer Ramiro Civita. The music score plays well in the background, the work of Giovanni Venosta. Ultimately, it is Mr. Soldini's triumph for involving the viewer in a human situation that is not too far fetched and it feels real by the intense portrayal of the two principals and an excellent supporting cast.
Michele has been out of work for a couple of months. Their upper middle class status is about to crash because they have nothing saved for times like the one they are about to face. Michele, who learns about a position in a lower salaried position, wants to give it a try, but Elsa, thinking their situation is only temporary, feels something better is about to happen sooner, rather than later.
Elsa is furious when Michale confesses. Why go along with a deception they cannot afford. When reality sets in, she decides to apply for a telemarketing position selling creams to bored housewives on the phone. Michele, on the other hand, has no leads, or prospects in the horizon. Taking a job as a messenger, delivering small packages, takes him into an area where his daughter Alice discovers him riding a motorcycle to her complete shock and dismay.
With the help of two former employees, Michele decides to redo the new apartment where he and Elsa are forced to live after selling their own, more palatial home. They are approached by tenants in the housing complex that see an affordable way to get their apartments more livable. Elsa, in turn, finds another part-time job as a secretary for an executive of a shipping company, something that will make her vulnerable to the advances of her younger boss. Elsa and Michele's union seem to be heading for divorce, or at least separation. Fortunately, they find that in spite of all the things that have got in their way, they cannot live without one another.
Silvio Soldini, whose "Pane e tulipani" impressed us, is at it again with this story that recalls other films about the same subject. What distinguishes this picture from the rest is the well written story Mr. Soldini and his collaborators created for his audience, notably the intense performances by Margherite Buy, one of the best actresses working in the Italian cinema today, and Antonio Albanese, who makes a dramatic turn from his usual comedic roles.
The director takes us to meet a couple during a crisis. We are drawn into their plight because both Elsa and Michele are real people whose pain is about to consume them. Fortunately for them, they find strength in their predicament when some other couple would have packed it in as their predicament becomes all too evident.
Genoa is captured in all its splendor by cinematographer Ramiro Civita. The music score plays well in the background, the work of Giovanni Venosta. Ultimately, it is Mr. Soldini's triumph for involving the viewer in a human situation that is not too far fetched and it feels real by the intense portrayal of the two principals and an excellent supporting cast.