Ovosodo: the meaning of Paolo Virzì’s film

“What a sweet, cruel, ridiculous thing life is,” reads the tagline of Paolo Virzì’s masterpiece, a deep and sensitive journey into the emotions of the adult, between hope and disillusionment.

Ovosodo is represented in the film by Paolo Virzì (in fact it is a district of the city center) as a popular district of Livorno, one of those who cry with real life and even some evil evils, from which the little Piero (Edoardo Gabbrielini), the son of a convicted and orphaned mother, tries to emancipate himself in search of a place in the world that is a little more suited to his ambitions.

Proficient in writing and with a sensitive soul, in middle school Piero is facilitated by the magical encounter with Professor Giovanna (Nicoletta Braschiin one of his strongest roles), through which he becomes passionate about literature and begins to imagine a life different from the one that already seems painted for him.

But the key years of the school also correspond to those of the hormonal unrest and, thanks to the friendship with the eccentric Tommaso (Marco Cocci), Piero himself finds the vortex of distractions necessary to more clearly define his own path. And me with him.

Ovosodo: Search for a place in the world

Ovosodo enjoys a precise and sensitive writing style, rich in details and subtle humor, but – at the same time – through a sweet underground bitterness which refers the viewer directly to the second meaning of the title, and refers to the magone who gives the impression of having a lump between the neck and the belly, which, like a hard-boiled egg, is swallowed whole, does not seem to want to go up or down. A sensation provoked by disappointed expectations, inherent in growth, but also the result of a somewhat unjust world, which often facilitates the high social status and superficiality of the character, the poorest in money and emotion and the role of helpless spectators descend. Success of others.

But Paolo Virzì’s film, without ever losing the light tones of comedy, goes even deeper, shows how life is equally capable of giving and taking away, in a kind of homeostatic law of the universe where there is always the other side of the coin, for better or worse. And being happy is still possible, even without getting rid of melancholy.

A very Italian come-of-age

Ovosodo fails to neglect any element related to the word Growth: there is the friend who is so much admired, but to whom we eventually discover that we have little or nothing to envy, there is the mentor who changes his life – despite his great baggage of suffering – there is the poisonous love is that which enriches and repairs, but which is only recognized when one is ready to receive it, there are those who are content with creeps or appearances, surrender to dissatisfaction and above all there are those who do and who did not, because he had fallen to defeat. Against the background of a family that is not always the ideal starting point in return, but that inevitably defines us.

Despite the inevitable feeling of “ofzocken“This often accompanies the debut in adulthood, Virzì’s film teaches that what really matters has little or nothing to do with them. Great hopes without face in which personal fulfillment is necessarily identified (beautiful and significant in that sense the reference to Dickens’ novel, in the story to colleagues in the factory) but that Happiness is more than not losing yourself no matter where or where you are to have the privilege, to love and to love, perhaps to start a new life where another is over but can still be honored.

Between disillusionment and hope, Ovosodo – 25 years after its debut – it remains one of the most recent and successful Italian films (the most successful?) To address the subject of growing up with all its baggage of emotions and distractions, constantly taking viewers back and forthbinding importance of origin that will forever be a part of your identity no matter where you decide to go.

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