The loose cannons of the title are found amongst the Cantone family, the owners of a pasta factory in Puglia, in southern Italy. The father, Vincenzo, has decided that the time has come to hand over responsibilities to his sons, Antonio and Tommaso. His daughter's husband being an imbecile and his daughter being a woman, the brothers are the obvious heirs to the family business. Gullotti, Antonella (30 April 2010). " "Mine Vaganti" di Ozpetek vince il premio giuria al Tribeca Film Festival". Newnotizie (in Italian) . Retrieved 16 March 2012. Loose Cannons". Palm Springs International Film Festival. 2011. Archived from the original on 22 January 2011 . Retrieved 16 March 2012.

In this issue of Classic@, we focus on selected themes that revolve around the phenomenon of the itinerant professionals of performing arts and run along it, in a way that shows the osmotic levels set in motion by such research. This issue is the result of a dynamic process: two workshops, as a twofold thematic series, were held at the Department of Classics, “La Sapienza” University, between the Fall and the Spring Term 2020/2021, with MA students in Greek Epigraphy and with doctoral students in History and Philology of the Ancient World. The outcomes of the conversations and brainstorming engaged in during the meetings worked as a starting point for this select group of young scholars to conduct an in-depth analysis on thematic ramifications arising from the topics proposed.Il gruppo di ricerca, formato da oltre trecento associate/i e diecimila simpatizzanti fb, pubblica articoli e dati su ogni singolo territorio e sollecita le istituzioni affinché strade, piazze, giardini e spazi urbani in senso lato, siano dedicati a donne. While the family tries to adapt to the sudden change, Tommaso feels more and more inadequate in his new responsibilities, which also leads him to neglect his boyfriend: Marco and not to be able to return to Rome as he would have liked. After a very tense confrontation with his brother, in which each of the two accuses the other of each other faults, the daily life of the Cantone is upset by the arrival of Marco together with his friends Davide, Andrea and Massimiliano: believing them to be heterosexual, Tommaso's parents welcome them in his own house, against Tommaso's wishes. Soon the extravagance of the three friends makes the family suspicious, confirming some clues about him being gay; Meanwhile, Marco accuses his boyfriend of not being able to deal with his parents, and their relationship becomes very tense. Only shortly before departure the two manage to clarify the things between them; once Marco and his friends are gone, Tommaso finally finds the courage to face his parents and declare that the life they have chosen for him is not the one he wants to live. Of course, the father does not see all this. He is too much occupied with "what people in the village may think". He is also mad at his family, that they did not forewarn him because "everyone can recognize gay people by their behavior".

Cecilia Bongarzone, “ Luoghi di incontro a Delo: l’importanza delle agorai nel traffico commerciale del II secolo a.C.”The striking contrast between traditional family structures and Tommaso’s secret double life not only builds an alluring narrative but also provides a great resource for learners at an intermediate level. With this film, they can learn a wide range of vocabulary relating to family relationships, love and food. Io non ho paura (“I’m Not Scared”)

Unlike some of the other movies on this list, Perfetti sconosciuti is an excellent movie for Italian learners of all abilities. Thanks to heavy use of body language and typical Italian hand gestures, beginners and lower-intermediates (from B1 level) will find the more complex dialogue easy to follow. Meanwhile, advanced learners can gain an insight into the nuances of Italian attitudes towards love, family and unemployment. Il sorpasso Ozpetek presents this world beautifully, the film is shot well and looks great, but so does everything to the point that it all seems too perfect. All the characters are beautiful, stylish and middle class, living well and only through the aunt do we see any imperfections, which seem to be done for laughs. The perfection of the characters seems highly unrealistic, although perhaps one could say that despite the perfection on the outside, they have many imperfections within. Throughout 2010 and 2011, Loose Cannons was screened at film festivals such as Aruba International Film Festival, Moscow Film Festival, Durban International Film Festival, Festival do Rio and Ghent International Film Festival, and was theatrically released in France, Russia, Sweden, Germany, Poland, Austria, Portugal, Spain, Brazil, Hungary, Japan, Colombia, the Netherlands, Argentina and Philippines. [9] In October 2010, the film was shown at the London Film Festival before being released in British cinemas. [10] Reception [ edit ] Critical reception [ edit ] This 1962 cult comedy is considered the apex of commedia all’italiana , one of the most celebrated genres in Italian cinema. In II sorpasso , introverted law student Roberto is taken on an unexpected road trip by the erratic and charismatic Bruno. Several amusing story lines unfold. The family is large enough to offer many opportunities for sub-plots. It's a pity that most are not developed to their full potential. Even worse, some are rather unrealistic, like the gay friends of the second son staying for a few days.For a film in which each character harbours some tragic secret - of unrequited love, betrayal, unfulfilled ambition, alcoholism, a death wish or suchlike – Ferzan Özpetek's Loose Cannons is surprisingly uplifting. Marta Marucci, “ Celebratory epigrams from Hellenistic Delos: a first survey of the epigraphic testimonies.” Vitamine vaganti è la rivista ufficiale dell’associazione, registrata presso il Tribunale di Roma il 16 marzo 2019, per dare voce alle associate e agli associati. The film has an array of characters, Tommaso's family, many of them also have hidden truths, some are revealed, some are not. Potentially this could lead to a intriguing film, but Loose Cannons struggle in many ways. Firstly the subject matter is played, for the most part, quite seriously. Yes, there is a funny side to the situation Tommaso finds himself him, but there is also a serious side, that his life as he wants it, is on hold again. But there are other serious overtones: his father's refusal to accept or understand his other son's sexuality, his grandmother dwells on her own past and lost opportunities and there is his colleague's longing for someone unattainable. There are some very touching, often moving moments in the film, as characters reveal aspects of their lives to some and withdraw from others. Yet part way in the film tries to lighten up with the introduction of Tommaso's gay friends. Unable to be openly gay they downplay their sexuality with some quite funny results, but it feels out of place. As Tommaso looks onto the life he and his friends could have, so we the viewer look on wondering whether we are watching a comedy or drama. Filomena Angellotti, Riccardo Biagiucci, Jorge Cocquyt, Sophia De Gaetano, Giada Di Giuseppe, Salvatore Luigi Guglielmino, Sara Mancini, Giulia Nafissi, Giulia Nardone, Elisabetta Pinto, Rossano Ricciutelli, Lavinia Tutino, “ Kraton di Calcedonia e gli Attalidi.” Section 2. Authorial poetry on Stone

Rounding off our list is the Oscar-winning classic La vita è bella by Roberto Benigni. Set in a Nazi labor camp, this bittersweet comedy reflects on themes of love and sacrifice as the protagonist Guido attempts to protect his son from the terror of their reality by pretending the camp is actually just an elaborate game, where they have to follow all the rules to win a tank. In this critically acclaimed drama, a hit-and-run leaves a waiter seriously injured, but an investigation into the incident prompts a frantic scramble to conceal the truth. This film makes a powerful statement about Italy’s deeply entrenched class system, demonstrating how the rich and powerful can exploit their privilege to escape their problems, leaving the poor to pay for them.

As usual in his movies, photography, sets and music are highly original and perfectly fitted to the story: if it were a silent movie it would be beautiful just to look at; if it were a radio program it would be delightful just to listen to. This is the first of his movies to integrate a significant amount of comedy into his usually serious but highly imaginative dramas, and he does it expertly; I laughed out loud almost as often as I wept with delight. There are two issues I had with the film. Number one: based on the trailer, I was anticipating a happy-clappy Italian comedy. Although the film has comedic moments, it is more a film about lost opportunities and regrets through to the very last scene. Comedy rarely comes into it, and by the end I was down-right depressed. Juxtaposing with other Ozpetek's films I have watched (chronically STEAM: THE Turkish BATH 1997, LAST HAREM 1999, THE IGNORANT FAIRIES 2001, FACING WINDOWS 2003, SATURN IN OPPOSITION 2007), this time Ozpetek is palpably much smoother and more effortless to deal with his gay-oriented hallmark, shunning from all the melancholy and narcissism most homosexual films shamelessly over-exploit. Fernan Ozpetek delivers another talented direction in a movie which stands somehow apart from his previous ones, being here the entertaining and even funny element more evident and succeeded. The main theme has dramatic and thoughtprovoking implication, being it the difficulty for a son to reveal his homosexuality to his family, and the difficulty, almost the impossibility for the family to accept this revelation. What stands out here, as in all movies directed by Ozpetek, is the delicacy in handling with still difficult and "disturbing" topics, not judging nor siding for any point of view, but simply trying, sometimes with a radical but effective attitude, to offer a believable contemporary frame. At the same time, some funny moments are delivered and help to relieve the story of the easy risk to become too melodramatic or pedantic.