It’s usually not a positive thing when a movie relies on title cards for crucial information that the movie itself fails to provide. This is exactly what occurs with the film “Fuori“. This serviceable portrayal of Italian writer Goliarda Sapienza’s time as both a prisoner and an ex-con, where she developed meaningful relationships with fellow inmates that later influenced her renowned literature, is efficiently but somewhat tamely directed by Mario Martone (Nostalgia). Featuring Cannes regular Valeria Golino (Rain Man) in the lead role, this film may find an audience primarily in regions where Sapienza’s books are well-liked, such as Italy and France.
El autor alcanzó la fama en su patria tras la publicación de su novela, El Arte de la Alegría, en 1998. Fue un éxito tanto crítico como comercial que convirtió a Sapienza, quien había fallecido dos años antes, en una voz destacada de la literatura italiana. Antes de eso, llevó una vida fascinante: creció en Sicilia con padres socialistas-anarquistas, luchó en el batallón de partisanas de su padre durante la Segunda Guerra Mundial, actuó en escena y en películas (incluyendo un pequeño papel en Senso de Visconti) y pasó años luchando por mantenerse a flote económicamente como escritora en apuros en Roma — hasta que se le acabó con una amistad al robarle joyas a un amigo y terminó encarcelada.
If you’re not familiar with Sapienza or her story, the title cards provide essential context. The script by Martone and Ippolita di Majo primarily delves into Sapienza’s time in prison, which in the film appears as if it lasted for months, but was actually only five days in reality. Following this brief stint, the narrative focuses on her friendship with an inmate named Roberta (Matilda de Angelis), who is young enough to be considered Sapienza’s daughter.
1980 serves as the backdrop for the film Fuori, which alternates between scenes of prison life and Sapienza’s daily existence at home in Rome, where she is attempting to write. A phone call from Roberta, who has just been released from jail, stirs memories of their shared past within the confines of the prison. The back-and-forth between these settings may seem a tad mechanical at times, yet it also infuses energy into a movie that primarily focuses on the blossoming friendship between these women rather than delivering a comprehensive dramatic experience.
As a gamer, I’ve come across Roberta, a character who’s no stranger to strife. She’s tough as nails, cruising cars whenever she desires and injecting heroin each night. Sapienza finds herself drawn to this fiery young lady, who can switch from alluring to icy cold in an instant. One moment, she’s seducing with charm, the next, she’s treating the older woman with disdain. Eventually, Roberta teams up with Barbara, another ex-con, who now runs a perfume shop. Their bond is unlike any other in Sapienza’s world, more captivating than the snobbish writers and intellectuals that fill her high-class society.
The writer’s fascination with the criminal underworld is what makes her books, notably “The University of Rebibbia” (named after the prison where she was held) and “The Certainties of Doubt,” captivating reading experiences, but it doesn’t automatically translate into excellent cinema.
Martone adopts an academic approach that may appear somewhat solid, yet the technical aspects of the film are flawlessly executed across all departments. The cinematography by Paolo Carnera (Io Capitano) is visually appealing and the depiction of ’80s Rome by production designer Carmine Guarino (The Hand of God) is convincingly done. Additionally, Valerio Vigliar’s catchy score adds to its appeal. However, none of the film’s scenes make a lasting impression in Fuori>.
Golino, who recently penned and directed a six-part TV version of “The Art of Joy“, convincingly portrays a woman who was a trailblazer in her era. The actress strikingly exposes herself in certain nude scenes, whether it’s upon entering prison or during an unrefined shower scene where Sapienza, Roberta, and Barbara bathe together at the rear of the perfume shop, similar to their shared bathing routine from their prison days. De Angelis delivers a powerful performance as a restless character, balancing between playing the role of the daughter Sapienza never had and potentially becoming a love interest for her.
Outside translates to “outside” in Italian, and the film portrays that life post-prison can often be an extension of what transpired within prison, explaining why many former convicts find themselves back behind bars. Martone emphasizes these concepts through a narrative detailing Sapienza’s experiences at Rebibbia and how they affected her in the years following, even though her renowned novel was penned prior. This is an intriguing topic that might resonate more deeply on paper than on screen, prompting viewers to explore the author’s books once the movie concludes.
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2025-05-21 20:54