Greatly forgotten on the prize list of the 76th Cannes Film Festival, Nanni Moretti has once again conquered the Croisette, with a poignant work tinged with humor and melancholy through which he casts a worried and sarcastic look at today’s cinema.By Atmane Tazaghart and Nicolas Chene
It is no doubt no coincidence that the cell of the Italian Communist Party, in “A Brighter Tomorrow” by Nanni Moretti, bears the name of Antonio Gramsci. The Italian grandmaster, winner of the Palme d’Or in 2001, for ‘‘The Son’s Room’’, places the action of his film in the ‘‘grey period’’ between a lost world, of which he is sickly nostalgic, and a new one that is slow to hatch, giving rise to the emergence of ‘‘terrible monsters’’ (erosion of values, loss of bearings, excesses of all kinds whose sequence on Netflix illustrates with humor and brilliance).
Moreover, the (alternative) end of the film takes a very Gramscian turn, curbing the pessimism of reason with the optimism of will, in order to bring out a brighter future. For that, even if it means remaking History with “if”!