Rosa Barotsi and Pierpaolo Antonello he Personal and the Political: he Cinema of Nanni Moretti From the post-Second World War years up until the 1980s, collective preoccupations in Italy were consistently expressed through cinematic means: beginning with neo-realism, through the auteur cinema of Visconti, Bertolucci, and the cinema politico of Francesco Rosi, up to the later ilms of Pasolini, Italian cinema was informed by the Gramscian vision of a culture responsible for social and political change.1 he camera, like the written word, was used as a tool for the comprehension and interpretation of the socio-political present, as well as a form of critique of established powers, being political or economical. However, ater the loss of a common ideological denominator and the crumbling of a shared faith in a political project, Italian auteur cinema experienced a creative crisis in the ‘80s, when faced with the necessity to re-invent its role within society. he onset of the post-ideological era revealed the limits and contradictions of ‘cinema “ideologico”’:2 in an era of relinquishment of grands récits era, the political and critical discursive strategies of the past have been rendered inadequate; rather than aspiring to the imposition of unifying teleological meaning, postmodernity requires the construction of new discourses that acknowledge the complexity and contradictions of contemporary society. It is under these circumstances that Nanni Moretti appears on the scene in the late 1970s, and very quickly becomes a dominant igure in Italian cinema. According to Gian Piero Brunetta, his success lied in his insightful choice of subject – ‘promuove semplicemente al centro della scena una condizione giovanile, una cultura “altra” non alternativa e non antagonistica […] un mondo inora […] ignorato’.3 However, Moretti’s rise to fame and his success with the Italian public is far too widespread to be 190 Rosa Barotsi and Pierpaolo Antonello explained merely through his focus on the generational frustrations of post1968 middle-class youth. Moretti’s success lies more in his approach rather than his subject, and it is linked to his ability to accommodate the notion of impegno in a cinema that, both in thematic and stylistic terms, shares many features with postmodernist aesthetics. As a matter of fact, some of the most explicitly political Italian ilms of recent years, like Moretti’s Palombella rossa (1989) or Il caimano (2006), or the more recent Il divo (2008) by Paolo Sorrentino, constitute eloquent examples of a reconciliation between acute socio-political criticism, and an aesthetic of irony, pastiche, and meta-cinematic playfulness. Nanni Moretti and Impegno Distinctly unique within the European context, ilms like Palombella rossa or Aprile (1996) have been labelled by some critics as straightforward example of post-modern cinematography.4 However, this sort of critical pigeonholing needs to be understood and framed according to the speciicity of the Italian cultural context. he relationship between arts and politics in recent decades, in fact has been marked by the interplay between elements of continuity with the ideological phases of the post-Second World War period (sustained by an intrinsic cultural and social conservatism of the Italian cultural and political spheres), and the emergence of a more fragmented, thoroughly postmodern epistemology and aesthetics, induced by historical and economical global changes, also attached to an intergenerational turnover. In general terms, Moretti retains some of the characteristics of the engagé intellectual of the past, and his background bears some elements of homogeneity with the Marxist intellectual sphere of the 1950s and 1960s. Even though he never registered with the Italian Communist Party (PCI), he actively participated in letist extra-parliamentary groups, and he has more than once expressed his grievances towards the administration of the PCI.5 He is relentlessly present inside his cinematic work, as writer, director, he Personal and the Political: he Cinema of Nanni Moretti 191 protagonist, and eventually producer of his ilms, as well as outside – one of the most sought ater social commentators of the Italian cultural ield, and, at least intermittently, an active, impegnato, citizen, as evinced in the 2002 girotondi afair.6 In this manner, Moretti has been constantly a thorn in the side of the processes of socio-political self-analysis of the let, with a particularly acute capacity to foresee its changes and crises. Guido Bonsaver has correctly baptised Moretti ‘the egocentric Cassandra of the Let’, given that his ilms have coincided with, or even anticipated, some of the most important events of recent Italian history: Palombella rossa (1989), for example, was distributed only two months before the fall of the Berlin wall and the subsequent crisis of Italian communism. Moretti was also producer and protagonist of [Daniele Lucchetti’s] Il portaborse (1991), which caused a heated discussion about corruption in party politics with particular reference to [Bettino] Craxi’s Socialist party. Less than a year later, Milanese magistrates were to bring the matter into the spotlight, oddly enough through a confession from a socialist politician.7 His ability to act as a timely cultural probe is also testiied by Sogni d’oro (1981), in which he spoofs the crass banality of television programmes well before the domination of Berlusconi’s commercial television channels plagued Italian culture and language. Moretti was also extremely prompt in engaging with the crumbling of the PCI with the much praised documentary La cosa (1989), while in Aprile (1998) he exploited a personal event, the birth of his son, to celebrate the long-awaited victory of the let at the 1996 general election, but also engaging with the anthropological transformation of the Italian political scene in a crucial moment of its selfredeinition, and touching upon the limitations of the new Democratic Party of the Let (PDS), in particular its loss of vitality and initiative, both traded for the vote of the moderate electorate, which has become more and more evident in recent years. In a general sense, Moretti sees his cinema more as an epistemological instrument than as a tool for public criticism and denunciation: ‘Non voglio avere una missione nei confronti dello spettatore, diido dei registi che con i loro ilm vogliono cambiare la testa delle persone, ho fatto questo ilm 192 Rosa Barotsi and Pierpaolo Antonello [Aprile] prima di tutto per ricordare a me stesso alcune cose, per capire’.8 He does not provide straightforward diagnoses and solutions, but uses his work as a probe into his social context, revealing its contradictions and insuiciencies. Rather than aiming at straightforward forms of denuncia, both in his ilms as well as in his political interventions, Moretti’s discourse tend to verbalize common, horizontal concerns.9 He privileges, and his characters embody, the position of the ordinary cittadino rather than that of the organic intellectual. he various Micheles featuring in his ilms, all played by Moretti himself, do not assume the point of view of authority, nor they try to construct their argument or model their actions based on some general ideological assumptions, but, instead, they are in constant search for a language that could express common matter of interest and socio-political preoccupations. We could say that Moretti and his characters, act as catalysers for a speciic ‘constituency’,10 embodying (we could say somatizing) the malessere of a given social, political and intellectual group. Moretti’s narrative strategies do not, of course, leave out explicit social criticism of ethical nature: in Aprile, for instance, the scene of the wreck of a ship carrying Albanian immigrants (sunk by mistake by the Italian navy) is a bitter denunciation of the silence with which let-wing politicians avoided discussion of this controversial tragedy. What changes in a post-ideological context is the point of view of the critical cittadino (but also of the committed intellectual), and of his/ her approach, which now obey the laws of contingency rather those of a well-deined project, and is apportioned in fragments of reformist or emancipatory thrusts. A new form of personal involvement (indeed of commitment) also becomes necessary: no critical formulation can be construed from an external, ideologically puriied point of view, but it has to be internally structured, as in Moretti’s case, through ironic self-criticism directed towards the vocabulary and the idiosyncrasies of a certain social class or political group or constituency. he famous slogan of Palombella rossa (‘siamo diversi ma siamo uguali’) should be read accordingly: from one viewpoint, it meant the reclaiming of the capacity of the PCI to lead the country, a capacity it had been denied due to a series of historical circumstances; on the other hand, it lags the impossibility by any political position to pull out from the dominant socio-political system, by claiming he Personal and the Political: he Cinema of Nanni Moretti 193 a radical critical distance. he end of ideology and the emergence of a systemic co-dependency of historical, political and economical processes rendered quite unviable (if not critically self-defeating) any demands for separateness, or any form of ‘externalization’. To understand and face contemporary reality it is necessary, most of all, to rid oneself of one’s claim to diference and to produce a relexive criticism (very much in Bourdieu’s sense). Critical involvement is a necessary precondition for any meaningful political, social or ethical analysis. Hence, the existential implication is always present in Moretti; he does not speak from the vantage point of an ‘external’ moral position, ideologically puriied and in dialectical contraposition to the socio-cultural context it refers to. His caustic critique is always directed, irst of all, towards himself, towards his own constituency, towards the vast cultural archipelago of the Italian let, which is also the public of reference for Moretti. Speciically, Moretti speaks from the point of view of a letist, aluent, emblematically Roman middle-class, to which he belongs, and which has strongly contributed in shaping the course of politics and cultural discussions over the last few decades in Italy. Another element of departure from the typical rhetoric of the organic intellectuals of the 1960s is Moretti’s avoidance of apocalyptic undertones when discussing the transformation of the cultural and social context in Italy. Instead of rejecting mass culture, he foregrounds, through irony, some of its internal articulations and paradoxical tendencies. Nor does he adopt the implicit Adornism still in use in letist intellectual circles, which hurls indiscriminate accusations at the cultural industry; rather, he has immersed himself completely into the formal and material mechanisms of the cultural industry in order to develop and introduce new expressive elements but also to provide wider and more efective distribution and circulation to his, and other directors’, movies.11 Moretti’s critique of the let is in fact both political and aesthetic, and it was provoked or generated by the need for a new cinematic language that could have some resonance with the contemporary public, rather than being the carrier of a critical and political agenda which eventually fostered conformity, ideological cliché, repetition, and the inability to read the social reality critically and efectively: 194 Rosa Barotsi and Pierpaolo Antonello L’area della sinistra extraparlamentare, di cui in quel periodo facevo parte, si era posta il compito di rinnovare il marxismo in tutti i campi, ma un settore in cui non si stavano facendo passi avanti ma indietro era quello della cultura, dello spettacolo. C’era una concezione molto stalinista, un modo molto contenutista di fare critica, di vedere i ilm. Erano gli anni in cui a proposito dei ‘ilm d’impegno’ di Rosi, Damiani, Petri, Vancini, volendo criticarli, non si diceva che erano brutti e non riusciti, non si parlava della sceneggiatura o della recitazione, spesso tradizionale, degli attori, o del linguaggio cinematograico simile ai ilm di routine, o del rapporto molto viscerale con lo spettatore. No, si accusavano questi registi di non aver letto Marx, di non aver letto Lenin. Si diceva: questo regista ha la linea sbagliata, È un regista revisionista. L’ideale dell’estrema sinistra di quegli anni era la riproposizione del già visto, del già conosciuto. Ad un ilm si chiedeva non di porre interrogativi o suscitare dubbi, ma la notiicazione delle proprie certezze.12 Contingency, Irony, Solidarity: A Rortyan Moretti? Jennifer Burns in her Fragments of Impegno, claims that postmodern Italian literary production presents ‘a more contemporary sense of responsibility’, an impegno that is ‘difused’,13 less vociferous, willingly contradictory and self-questioning. his resonates with Linda Hutcheon’s view of postmodernism as a cultural phenomenon that is not only inherently imbued with contradictions, but that ‘foregrounds them to such an extent that they become the very deining characteristics of the entire cultural phenomenon we label with that name’.14 Very much similarly, Moretti’s sense of responsibility is tied to his understanding of the mechanisms of an increasingly complex social reality, one that could be accounted for and questioned by adopting a critical approach that is less ideological, less regimented by abstract formulas or theories, but is, instead, ironic, and allows the contradictory nature of its fabrics to emerge. Moretti’s criticism, far from being an expressly straightforward manifestation of engagement, is perplexed, self-doubting and contingent. In particular, the type of ‘perplexed’ impegno featuring in his ouvre is largely accomplished through the ironic treatment of the protagonists. It is embodied, for instance, by Michele, the amnesiac communist politician he Personal and the Political: he Cinema of Nanni Moretti 195 of Palombella rossa, or by Nanni, the confused director of a documentary in-the-making in Aprile: con questo documentario io voglio dire quello che penso, senza però provocare gli spettatori di destra, che proprio non mi interessa, senza nemmeno volerli convincere – non voglio convincere nessuno. Però senza nemmeno coccolare gli spettatori di sinistra però voglio dire quello che penso e come si fa in un documentario e soprattutto: cosa penso? Anna Mazierska and Laura Rascaroli have thoroughly explored this issue in their remarkable volume on Moretti. According to them, the type of irony Moretti employs follows a trajectory from nihilistic cruel negativism to one gradually approaching Richard Rorty’s discourse on the liberal ironist. Rorty ‘absolves’ philosophical thinking of such teleological notions as truth, and substitutes progress through argumentation with re-description, thus taking its distance from the modern philosophical project (approaching a post-hegemonic conception of philosophy). Rorty’s account introduces the elements of contingency and historicity into philosophical pursuits, without, however, stripping them of their sense of commitment. hus, Rorty demands of the intellectual the exercise of irony: ironists are those who are ‘always aware that the terms in which they describe themselves are subject to change, always aware of the contingency and fragility of their inal vocabulary, and thus of their selves.’15 Rorty’s philosophical programme could be mapped on Moretti’s cinematic project, in which his acknowledgement of contingency and his availability for constant redescription overspill into all areas of life: the social, the political, the private, the linguistic, the aesthetic. Primarily, however, it afects the deinition of Moretti’s own subjectivity, a re-description of the ego efectuated through self-irony, a satire directed towards the self: Sono di sinistra e quello che mi interessa è ironizzare sulla sinistra […] trovo che sia più utile prendere in giro me stesso, i miei amici, il mio ambiente e tutto quello che credo rappresenti il futuro.16 ironia e distanza sono obbligatorie: quando si parla di se stessi se ci si prende troppo sul serio si rischia di diventare ridicoli.17 196 Rosa Barotsi and Pierpaolo Antonello he multiplicity of the authorial igure (writer-director-personaggio) and the coincidence of the man (author) and the character (actor) imply an equal dispersion of the exercise of self-irony, that can function on many levels: it emanates from the man behind the camera and is addressed to the character in front of it, thus back to its author, as another manifestation of the same subjectivity. he letter in Ecce bombo (1978) (‘Tu dici che sei autoironico ma in realtà non è vero afatto, la tua cosiddetta autoironia è un modo per strozzare ancora di più il tuo stato d’animo’) or the selfproclaimed inability of Nanni the director to write dialogues for female characters in Sogni d’oro, are instances of self-irony aimed at the psychological, professional and ideological facets of the same subjectivity. his ironic self-doubting also structure the making of the ilm in formal sense: in Aprile, Nanni is debating whether to go through with the shooting of the documentary on the concurrent elections, or to follow his instinctual desire to shoot a musical about a Trozskist pastry chef. he closing scene of the ilm introduces a contradiction: the inal ilmic product, Aprile, is the opposite of what its content claims to be. Inside the ilmic world, Nanni gives up on the documentary and shoots the musical, but in reality what the viewer is presented with, Aprile, is a postmodern ‘documentary’ on contemporary Italy. A documentary generated through contradiction and irony, and iltered through a subjectivity that does not claim to have a privileged perspective of reality.18 As a matter of fact, one of the novelties in Moretti’s form of engagement with the political is that he constantly subverts his claim to authority. Moretti insists on placing his protagonist(s) in the vestiges of people with authority – whether academic (the teacher in Bianca, 1983), political (Palombella rossa), or moral (the priest in La messa è inita, 1985) – and invariably portraying them as unable to manage that authority and its implications. Moretti’s characters are consistently constructed as unsure, confused and prone to failure in their private and professional life, characters whose authority is as rigorously asserted as it is subverted through irony. Like Rorty’s liberal ironist, Moretti employs irony to attempt to resolve the problem of retaining his sense of impegno without making any claims to authority. In Aprile, the reciting of the letters he wrote to politicians or he Personal and the Political: he Cinema of Nanni Moretti 197 fellow activists but never sent is intended as a criticism of the Italian let, but that criticism is undercut by the location (Speaker’s Corner in Hyde Park, London). Not only does he fail to address the presumed recipients, but he leaves the country, so that his enunciation amounts to its own negation, as his represented audience is bound to neither understand his speech nor its national context. In Aprile again, while in Puglia at the site where the Albanian ship sank killing its passengers, and faced with the absence and silence of Italian politicians, Nanni declares, indignant, to one of his crew members: ‘negli anni Settanta tutti i giovani comunisti italiani stavano tutti i pomeriggi davanti al televisore a guardare Happy Days, Fonzie, questa è la loro formazione politica’. Moretti, the director, then has Angelo Barbagallo, his co-producer, rejecting Nanni’s opinion as nonsensical: ‘ma Nanni, questo che c’entra? Questo non c’entra niente!’ Nanni personaggio’s alternation of narcissistic claims to authority are subsequently subverted by Moretti director, in a process of self-subversion; this marks Moretti’s postmodern approach to engaged cinema, precisely because it acknowledges the contradiction inherent in wanting to undermine authority while avoiding assuming a position of authority. his entire process is efectuated through and centred on an individual and his quotidian life, in what amounts to a unique discourse on postmodern politics: a desire for criticism and analysis as tools for political action as well as selfknowledge and re-description. ‘Dì qualcosa di sinistra’: he Shaping of a New Political Idiom As Mazierska and Rascaroli pointed out, in Moretti’s ilms ‘doing politics in post-ideological Italy is seen as a process of inventing a new vocabulary, which is an activity of re-description, akin to Gramsci’s “fundamentally contingent, fundamentally open-ended” conception of politics as production’.19 In Moretti’s obsession with language we ind another common denominator between his work and that of the organic intellectuals of the 198 Rosa Barotsi and Pierpaolo Antonello 1960s and 1970s, although not so much in the sense professed by the neoavanguardia with its need to destabilize meaning in order to subvert the linguistic conformity imposed by neo-capitalism; but rather, in the need for some sort of linguistic and conceptual ‘hygiene’, so that the vocabulary one uses may serve as a meaningful instrument that corresponds to some form of existential and social authenticity. Moretti’s preoccupation with the use of language is pervasive in all his work, but particularly pronounced in Palombella rossa. Roberto De Gaetano traces the locus of this Morettian theme in the concept of the cliché (‘la parola come cristallizzazione e sclerotizzazione del senso’).20 According to De Gaetano, it is towards the cliché and the (im)possibility of producing an original discourse that Moretti’s indignation is directed. Essentially, what the critic intends as cliché is the detachment between meaning and linguistic enunciation, as, for example, in the case of new (imported) linguistic forms whose meaning is elusive, thus supericial and ultimately irrelevant (the journalist’s ‘trend negativo’ in Palombella rossa); or old linguistic forms whose meaning has been rendered obsolete because their referents are no longer object of authentic interests (the sterile speech of the political let). If we take De Gaetano’s idea of the cliché and interpret it as the linguistic residue of communist ideology, a residue that has been stripped of its noema because the ideology it refers to has been compromised, then Moretti is essentially condemning the Italian let for not being able to move past its old metaphors. When Nanni pleads with D’Alema (‘dì qualcosa di sinistra!’, in Aprile), when Michele turns his stereotypical political discourse into a song by Battiato (Palombella rossa), behind those enunciations lies a criticism of a let that insists on recycling the same discourses that, now deprived of their Marxist pivotal point, can only refer back to themselves, thus evading any efective relevance with an ever more complex postmodern reality. he consequent failure of the let’s allegedly reformist political agenda, produces, eventually, a form of disengagement with the social. In this way, language and ideology become instruments to hide rather than to reveal the intrinsic fabric of social reality, and its problems and contradictions. Retrospectively Moretti’s concern has emerged even more necessary and urgent in the light of the strategy used by the political right which speaks the language of media supericiality, crass qualunquismo and pseudo-neo- he Personal and the Political: he Cinema of Nanni Moretti 199 liberalism, and has managed to ‘impose its new vocabulary […], while the let is struggling to come out of old metaphors but has not yet been able to replace them with new, efective ones’.21 his does not imply a lack of faith in the role of language on the part of Moretti. On the contrary, his attachment to a language that is functional and meaningful is one of the central motifs of his oeuvre (‘le parole sono importanti!’). His insistence on continuity between linguistic and moral/ social behaviour (‘chi parla male pensa male e vive male’) focus on the exasperation with the inability of the let, now in crisis in a post-communist era, to escape its obsolete discourses and to create a new, more relevant vocabulary that would not be supericial or hollow, although at the same time pleading for some sort of linguistic/social re-invention. Moretti’s search for an original vocabulary is efectuated through a play between author and character: while Michele-Nanni is essentially presented as a postmodern fragmented subjectivity, confused and disillusioned, Moretti the director has been a constant fount of original expressions, enunciated through the very character that he has regularly depicted as ‘inept’. Many of his expressions (‘Continuiamo così, facciamoci del male’; ‘ve lo meritate Alberto Sordi’; ‘siamo uguali ma siamo diversi’; ‘dì qualcosa di sinistra’) have been adopted by the Italian public and used in political discourses, and their longevity – some are more than twenty years old – relects their capacity to cement a feeling of collective belonging, to be ‘politically incisive precisely because [they ofer] to the moderate and liberal let-wing community new ways of describing itself ’ (even in negative or critical terms).22 heir efectiveness, it seems, is the result of an approach that is sensitive to the fundamental characteristics of postmodernity but that has not dispelled the need for political engagement. Palombella rossa emblematically encapsulates the need to communicate and to ind new words that could reconstruct the lost memory of the individual as a synecdoche of the collective, as well as the need to overcome the vacuity of political discourses with a renewed desire for new political elements and a new community. In one of the crucial moments at the end of the ilm, Michele Apicella the letist parliamentary, in front of a (turned of ) television camera, interrupts his vacuous political babbling and starts singing a song by Franco Battiato, E ti vengo a cercare, while the camera 200 Rosa Barotsi and Pierpaolo Antonello inexplicably starts recording. We suddenly cut to ind Michele in the swimming pool while the spectators, like a choir, join in by singing this new popular hymn: ‘questo sentimento popolare, nato da meccaniche divine, mi spinge ad essere migliore con più volontà’. As Mazierska and Rascaroli emphasise: ‘Moretti suggests that popular culture is better able to speak to the people than conventional political discourse’,23 which latter has instead become crystallised in stereotypical formulae, which in fact could be listed in a Bignami book, that is, the (spoof ) pocket companion to the PCI, compulsively consulted by the reporter (Mariella Valentini). he Personal and the Political One of the typical remarks addressed by critics and other ilmmakers against contemporary Italian cinema is its tendency to moving away from the political in favour of the domestic. Giuliano Montaldo, for instance, stated that in today cinema: ‘l’elemento politico è poco presente perché si concentra soprattutto su storie minime, sull’intimità dei personaggi, sulla famiglia, tra le pareti di casa, come abbiamo visto fare a Moretti, Muccino, Ozpetek’.24 We would argue that the dialectical relationship between the private and the political in Moretti is more complex than what Montaldo assumes, even before Il Caimano. he constant political thread that runs through Moretti’s work is in fact inextricably mixed with the intimist, and it would be supericial to mistake the latter as an overwhelming force over the former.25 Moretti’s treatment of the private-public binary is one of the elements that evince his idiosyncratic postmodernist approach: the protagonist of each ilm, Apicella-Nanni, acts as the centripetal force through which the socio-political and ideological implications of the outside world are processed. It is fair to acknowledge that the ‘ambiguous juxtaposition of the two selves’ in Moretti’s ilms – the real person on one side and the protagonist of his movies on the other, and the fact that ‘the two have oten been taken as one’ – somehow impeded a fair reception of this crucial element of he Personal and the Political: he Cinema of Nanni Moretti 201 his work, as Bonsaver has pointed out, because what has been lost is ‘the vital element of self-parody’ by ‘over-inlating the narcissism implicit in such obsessive self-referentiality’.26 However, the knee-jerk critical reaction against the allegedly arrogant narcissism of the character/director could be simply accounted for by the fact that much of the letist constituency, to whom many of these ilms are addressed, found itself mirrored in the Moretti/Apicella’s persona and hysterical narcissism. It is not by chance that in reference to Caro diario (1994), Moretti comments: ‘mi è stato “spiegato” che si trattava di un ilm in cui, benché dessi l’impressione di parlare maggiormente di me, parlavo in realtà di più degli altri rispetto al passato’.27 As a matter of fact, the integration, as well as the dieresis, between the political and the personal is a problem that Moretti has been trying to deal with since his earliest works, producing his own caustically ironic rendering of the famous feminist formula ‘the private is the political’. In his very irst short ilm, La sconitta (1973), Moretti portrays a young member of an extra-parliamentary group that is encouraged to ind in active political engagement ‘l’occasione adatta per sanare i dissidi non solo appartenenti alla sfera pubblica, ma anche a quella privata’, obviously inding himself eventually ‘sconitto’. hrough the parallel montage between public events (the national demonstration of factory workers) and a young man’s everyday ritual (waking up, washing up, watching Rischiatutto or listening to Tutto il calcio minuto per minuto), Moretti explores the socio-cultural contradictions of a generation that, already in the 1970s, was in a state of cultural and sociological transformation. An emblematic clip from La sconitta will be used by Moretti as a memory lash-back in Palombella rossa: in the conversation between the protagonist and the leader of a letist revolutionary group, the egotism and indiference lurking under the apparent social commitment of the former is paralleled to the vacuous and abstract hyper-ideological babbling of the latter, signalling the failing of any possible dialogue between the two.28 he ideological rigidity, either verbalized through vacuous mythologies and inefectual, cliché formulations, or embodied by the increasing bureaucratization of the letist parties, is paralleled by an intense egotism and personal narcissism, personiied by the young Michele, and both are represented by 202 Rosa Barotsi and Pierpaolo Antonello Moretti as the two sides of the same social coin. Against these polarised attitudes that represent the disjointed, schizophrenic transformation of Italian letist culture, Moretti opposed his caustic characters, whose sense of engagement is wrapped in a call for strong morality. his kind of engagement that is personal before being collective, takes the shape of idiosyncratic but genuine ‘passions’, ‘emotions’ and ‘anger’.29 he indignation, the passionate antagonism, the pleading for rigour and morality on the part of Michele Apicella is particularly expressed by a constant need for successful communication with others: both Bianca and La messa è inita, according to Moretti, are examples of this desire for mutual positive dependency.30 As a matter of fact, Bianca could also be read as an apologue about the dangers of ‘relationship maximalism’: the prescription of total moral and existential loyalty is taken to the extreme, negating and suppressing the diferential space between oneself and the others. In the vestiges of a monomaniacal request for loyalty is implicit the inexorability of punishment and exclusion, the incapacity to forgive others’ weaknesses and limits, eventually condemning oneself to radical sterility: ‘è triste morire senza igli’, is Michele’s inal sentence before he is taken to prison. Bianca can be then interpreted as a political metaphor, where the internal sufering, the pathological-psychoanalytical turmoil of the protagonist, mirrors the idealistic and maximalist mind that cannot accept the deterioration of the basic social structures inside which he grew up (the school or the nuclear family), and his only possible reaction is radical refusal which is totally self-defeating. In a similar metaphorical manner, the scene in Palombella rossa where Michele shouts: ‘I pomeriggi di maggio non torneranno più, le merendine di una volta non torneranno più’ (citing the famous Fellinian ‘ti ricordi’ in 8½), should not be taken as simply the hysterical outburst of a narcissistic man-child, but as a self-parody directed towards an entire constituency, and towards the typical attitude of letist intellectuals ixed on their nostalgic past. Unable to imagine a diferent future, they constantly yearn for the mythical past they have lost, in which revolutionary forces and utopian aspiration were visible, healthy and rampant (despite the fact that even in that historical context, there were ‘apocalyptic’ intellectuals who were shouting the same nostalgic cry for their own self-mythologized past, he Personal and the Political: he Cinema of Nanni Moretti 203 Pasolini in primis). he self-parodic tone is efective because it is presented through the personal story of an infantilised protagonist, who embodies the infantilization of an entire generation. Palombella rossa seems entirely built on the assumption that ultimately the political is the projection of the personal, and not the other way round. It is inside dubious individual psychological mechanisms and personal ethical hypocrisy that the political crisis of the past years can be discerned and explained. he ideological radicalism of many, for example, is the product of a lack of moral fabric: Quelli che sono stati i più violenti, con il passare degli anni diventano i più cinici. […] quando i dogmi crollano, quelli che sono stati i più dogmatici e che hanno creduto di più nei paesi dell’Est, sono forse quelli che, dopo un momento di panico, si ritrovano più a proprio agio nell’esistente – non riesco a trovare una espressione migliore di questa – perché per loro c’erano solo i dogmi e l’esistente.31 he fact that many intellectuals or politicians of Moretti’s generation moved in the blink of an eye from one extreme to its opposite bares testimony to this phenomenon. On the contrary, those who, like Moretti, ‘erano meno dogmatici, vivono il crollo delle certezze senza angoscia. Tentano di conservare un atteggiamento critico nei confronti dell’esistente’.32 Low-key Postmodernism Critics have noticed the lack of stylistic and cinematic analysis vis-à-vis the overemphasis on the political content of Moretti’s movies, bearing testimony to the topicality of his ilms for the intellectual let, as well as of the impact that his productions had on the Italian cultural scene. Some consideration of Moretti’s style and cinematic technique is required in order to establish the presence of a distinctly postmodernist vein in his oeuvre. A relatively conspicuous characteristic to note in Morettian cinema is the mixing of high and low cultural references, a typical aesthetic attitude of postmodern sensibility: a liturgical homage to Pasolini is mixed with 204 Rosa Barotsi and Pierpaolo Antonello a cameo of American movie star Jennifer Beals; soundtracks range from Keith Jarret to Jovannotti; James Joyce is juxtaposed to he Bold and the Beautiful; Franco Battiato and Bruce Springsteen’s songs are placed side by side in political speeches and used as a showcase to articulate forms of political and ethical commitment.33 A constant meta-cinematic component is also present in Moretti’s cinema, oten in the form of parody (without becoming an obsession à la Tarantino). In one of Moretti’s early shorts, Come parli rate? (1974), he revisited, with a parodic mood, Alessandro Manzoni’s I promessi sposi. In his irst feature ilm, Io sono un autarchico (1976), as De Bernardinis pointed out, ‘il Western, il Fantastico, il Musical, tutto il cinema di genere patrimonio del medio comune spettatore è convocato in quello che ormai si conigura come un vero e proprio ilm nel ilm’.34 here is also a plethora of references to Fellini’s movies, starting from the obvious parallelism between Sogni d’oro and Otto e mezzo, up to the last sequences of Palombella rossa,35 or Aprile, where Moretti borrows for his musical the tune from a scene from La dolce vita. In this inter-ilmic dialogue with Fellini, in particular Sogni d’oro highlights the typical mannerism of postmodern aesthetics, through its meta-cinematic, self-referential structure. It is surely no coincidence, that the ilm won the Golden Lion at Venice in 1981, when the president of the jury was an Italo Calvino who had, just two years earlier, published Se una notte d’inverno un viaggiatore (1979), a novel that would become the manifesto of postmodern aesthetics at global level. Moretti’s irony as ‘cruelty’ towards the self – discussed earlier in thematic terms – is also related to cinematic technique, part of what critics have labelled rigore morettiano,36 which is brought forth by devices such as the unusual use of ixed camera, manipulation of of-screen space and unconventional editing, challenging conventional ilm-making. In his early ilms (Io sono un autarchico, Ecce bombo, Sogni d’oro), Moretti’s deliberate use of ixed camera and internal editing has, according to the French critic Jean-Paul Fergier, Baudrillardian connotations in its claustrophobic, selfsuicient ilmic image, evading the invocation of of-screen space; as Fergier comments about Ecce bombo: ‘È un ilm che utilizza meravigliosamente il fuori campo cinematograico per raccontare la ine del fuori campo sociale. E quindi, poichè tutto è sociale, la ine del sociale stesso per saturazione e he Personal and the Political: he Cinema of Nanni Moretti 205 implosione’.37 Moretti’s also minimises ornamental, redundant movements of the camera, opting, ‘per reazione’,38 for the use of the ixed camera. In this choice, one could read an implicit political statement, in the desire for a ixed point-of-view, even if that point of view is that of a questioning gaze.39 his questioning gaze is actually presented through the challenging of temporal and spatial categories, like in the case of the unconventional, fragmented temporality of a movie like Palombella rossa, or the interlinked, recurring elements found throughout Moretti’s oeuvre, which render every ilm the ‘chapter of a wider autobiographical discourse,’ rather than an independent work of iction.40 Another stylistic postmodernist element which is relatively constant in Moretti’s oeuvre is what has been branded by Bonsaver as ‘low-key surrealism’.41 he famous scene in Bianca when the protagonist wakes up in the middle of the night and starts eating from a gigantic jar of nutella has become almost proverbial among Italians; in Palombella rossa, the spectators of the water-polo match walk hypnotised to a television screen to watch Doctor Zhivago; in Aprile he wraps himself up in gigantic collage of newspapers articles; in the irst episode of Caro diario, ‘In Vespa’, while meandering with his iconic moped in a torrid August aternoon in an almost totally deserted Rome, he bumps into a crowd dancing salsa in full daylight. Moretti comments of this scene: Inizialmente, la scena in cui incontravo la gente che ballava il merengue doveva svolgersi al chiuso, la sera […] Interno notte quindi, e senza Vespa. Esiste una logica della sceneggiatura, ma esiste una logica delle immagini. Sarebbe stato assurdo utilizzare un artiicio narrativo per arrivare in dentro al locale, dal momento che tutto il capitolo ruotava intorno alle mie passeggiate in Vespa. È illogico vedere gente che balla per strada d’agosto, sotto il sole, ma quando si vede il ilm, sembra logico e va bene così.42 In general terms, this element of surrealism could be framed within the afore mentioned tribute to Fellini’s work that Moretti has expressed throughout his oeuvre. However, in Moretti, the particularity of the surrealist elements inserted in his ilm consists in the fact that they are presented in realistic terms. here is hardly any change in cinematic technique, in terms of the soundtrack or camera use. Moretti’s cinematic style – simple, non- 206 Rosa Barotsi and Pierpaolo Antonello ornamental, secco – is retained in the surreal scenes. His favourite oneiric device of the dancing couples, inserted in many of his irst ilms (Ecce bombo, La messa è inite) to signal the protagonist’s desire for communication, is not followed by a change in representation. In Caro diario, indignant at a ilm critic’s nonsense writing, Nanni suddenly appears at his house and reads his reviews back to him while the critic cringes in despair, but the scene is in no way introduced as a fantasy event. he ontological status of the last scene of Aprile can also be contested if we consider its oneiric atmosphere: Nanni is still in his winter cape, and a hypnotised crew is swinging rhythmically to the music. Are they inally shooting the director’s much coveted musical or if are we witnessing one of his fantasies? he insertion of ‘low-key surrealism’ becomes particularly signiicant if we consider the long debates in Marxist cinematic circles regarding the importance of realistic depiction and its relationship to ideology: does realistic representation evade or strengthen dominant ideologies? According to Kristin hompson it depends on the main aesthetic co-ordinates of a given period: [realism] has the ability to be radical and defamiliarizing if the main artistic styles of the time are highly abstract and have become automatized […] Realisms, then, come and go in the same sorts of cycles that characterize the history of other styles. Ater a period of defamiliarization, the traits originally perceived as realistic will become automatized by repetition, and other, less realistic traits will take their places.43 Accordingly, Moretti challenges the question of realistic representation by mingling the boundaries between realism and surrealism: In [Palombella rossa] ci sono diverse scommesse, la prima consiste nel trattare questo tema in modo non realistico. La cosa più naturale che poteva venirmi in mente era di scrivere una sceneggiatura realistica, aneddotica, con una visione vittimistica della vita di un militante del PCI, ovviamente in piena crisi afettiva.44 [volevo] fare qualcosa di più astratto, di più metaforico, di meno realistico, meno concreto, ma non per questo meno vero. Ero attratto da un ilm che fosse estremo e vero, ma al tempo stesso molto costruito.45 he Personal and the Political: he Cinema of Nanni Moretti 207 his formal and aesthetic issue bears some relevance in regards to recent developments in Moretti’s cinema, and its more visible autobiographical and documentarist vein (from Caro diario to Aprile). On this score Bonsaver underlined the ‘new attitude towards the representation of reality’; ‘a conversion of Moretti to Rossellini’s ideas of cinematic realism’, to a ‘more straightforward naturalism’. his is surely true particularly in reference to La cosa, which came as a surprise in stylistic terms for Moretti, however one needs to be careful to lump together Moretti’s latest production under a common aesthetic denominator of docu-iction. First of all, as Alan O’Leary recently pointed out, we should resist ‘the temptation to see the autobiographical elements in the ilms as amounting to a portrait of the man and emphasize their project of the citizen or subject: the constructed personality that sufers and embodies history rather than the spurious origin of the situations portrayed’.46 Moreover, the recourse to the notion of realism, neo-realism, naturalism, could be seen as the typical critical relex in Italian ilm criticism: the concept of realism is oten used as a value rather than as a descriptive term in the discussion of Italian cinema history and individual ilms, and the discursive recourse to realism has become criticism’s essential authoritative gesture.47 On the formal level, the presence of footage taken from real television programmes and inserted within the ictional narrative of the ilm, arguably does not produce a ‘reality efect’, as Bonsaver contends, but, on the contrary, a radical impression of ‘estrangement’ and of ‘sur-reality’, perceived, because of this very juxtaposition of ictional ilm and ‘real’ TV, as either parodic, grotesque or even dramatic. For instance, the spectator is simply appalled when in Il Caimano, at one point, Berlusconi addresses the European Parliament calling a German MEP a ‘kapò’. It is not only the content but also the visual discontinuity and the estrangement efect that makes the episode remarkable: the over-saturation of colours in the TV footage and the pixilation of the image makes the scene even more grotesque and in fact surreal. In reference to the opening scene of Aprile, in which Nanni and his mother are watching Emilio Fede announcing Berlusconi’s victory at the 1994 general election, Moretti also remembers: 208 Rosa Barotsi and Pierpaolo Antonello Molte persone che, la sera delle elezioni [del 1994], avevano guardato in televisione il discorso ridicolo e appassionato di Emilio Fede, non si ricordavano assolutamente del tono e del contenuto di quell’intervento. Mi è stato addirittura chiesto se lo avesse recitato apposta per me, se ero stato io a scrivergli il testo e a farglielo recitare.48 his presumed recourse to ‘reality’ on Moretti’s part, as much in Aprile as in Il Caimano, actually epitomized and encapsulates a general discourse on the relationship between reality and representation, particularly in reference to the media spectacle produced by television: as it has become a common assumption in media theory and discourses, rather than being ‘realistic’ or conveying a sense of ‘truth’, television is quite the contrary the great producer of contemporary myths, ictions and phantasmagoria (still more so in Italy in the Berlusconi era). On this score, one may simply recall Guy Debord’s almost proverbial formulation in regard to the ‘society of the spectacle’, in which ‘the true is a moment of the false’.49 On this score, rather than resorting to Michael Moore’s mock-documentary to deine Moretti’s recent production, as Bonsaver does,50 a stark parallelism could be made between Moretti’s tecnique and the poignant and highly disturbing juxtaposition of hyperbolically ictional images and television footage at the end of the celebrated Waltz with Bashir (2008) by Ari Folman. he almost Tarantinesque, hyperbolic and oneiric atmosphere of the ilm presented as a documentaristic cartoon is never perceived by the spectator as historically and epistemically ‘unreal’, and the formal discontinuity with the images of the Sabra and Shatila massacre at the end of the movie does not shock only because its ‘realistic’ impression (we have been more than prepared for this inal denouement), but because of its ethical underpinning: it is indeed this very formal interplay which produces a more efective act of denunciation about the instantaneous forgetting which derives by the aesthetic shallowness of much media coverage in contemporary world, and the need to produce remarkable and memorable imagery to intervene in the collective memory and as an instrument of historical critique and moral self-questioning. In this sense, as Mazierska and Rascaroli rightly acknowledged in their book on Moretti, doing political cinema in a postmodern context is perhaps less about telling the ‘truth’, and more about ‘constructing a he Personal and the Political: he Cinema of Nanni Moretti 209 discourse, either through realism or its efacement, which is believed to be truthful and correct, at least by part of the audience’.51 In the speciically Italian framework, Moretti is unique in his construction of a discourse that is politically acute while being sensitive to the implications of a postmodern society and attuned to its linguistic and symbolic codes: ‘uno dei compiti del cinema [è] quello di raccontare, con i suoi mezzi espressivi, una realtà che ancora non riusciamo a vedere, oppure, come nel nostro caso, una realtà che non riusciamo più a vedere’.52 Endnotes 1 2 3 4 5 6 7 In the case of neo-realism the Gramscian notion is of course applied retrospectively, but the movement and its political aims has been oten critically lumped together under this theoretical umbrella. M.F. Minella, Non riconciliati: Politica e società nel cinema italiano dal neorealismo a oggi (Milan: UTET Libreria, 2004), viii. G.P. Brunetta, Il cinema italiano contemporaneo: Da ‘La dolce vita’ a ‘Centochiodi’ (Rome and Bari: Laterza, 2007), 478. his brings to mind one of the key Italian writers of Moretti’s generation, Pier Vittorio Tondelli, who was instrumental in representing and culturally mobilising speciic generational urges, providing a new language for self-expression and self-understanding, and proposing himself as an example of those ‘fault-lines’ of impegno that Jenny Burns has detected in the literature of the 1980s. Cf. J. Burns, Fragments of Impegno: Interpretations of Commitment in Contemporary Italian Narrative 1980–2000 (Leeds: Maney, 2000), 117–36. ‘Moretti is a postmodern ilm-maker, whose work deals with a fragmented world and relects the kaleidoscopic nature of the many discourses of our society’; E. Mazierska and L. Rascaroli, he Cinema of Nanni Moretti: Dreams and Diaries (London and New York: Walllower Press, 2004), XXX. J.A. Gili, Nanni Moretti (Rome: Gremese, 2001), 71. For a general account of this event see Mazierska and Rascaroli, he Cinema of Nanni Moretti, 115–18. G. Bonsaver, ‘he Egocentric Cassandra of the Let: Representations of Politics in the Films of Nanni Moretti’, he Italianist, 20–1 (2001–2), 158. 210 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 Rosa Barotsi and Pierpaolo Antonello Gili, Nanni Moretti, 92. In reference to the Piazza Navona rally, Mazierska and Rascaroli remember that: ‘the ilmmaker’s public outcry triggered a great upheaval and an animated debate in the let, and dominated the front pages of most Italian daily newspapers for the three following days, as well as the news programmes of both public and private broadcasting services. La Repubblica conducted a survey amongst the readers of its online version, asking them whether Moretti was ‘right or wrong’, and collected 95 per cent of replies in agreement with Moretti’s opinion’ (117). For the use of this term see Alan O’Leary’s essay in this book and in his previous Tragedia all’italiana. Cinema e terrorismo tra Moro e memoria (Tissi: Angelica, 2007), 165–204. ‘In 1986 he founded his own production company, Sacher Film, ater which he created his own ilm awards, the Golden Sacher, bought his own cinema in Rome, the Nuovo Sacher, and has recently created his own distribution company and co-founded a trade union organization, API, Associazione Produttori Indipendenti’; Bonsaver, ‘he Egocentric Cassandra’, 173. A.M. Mori, ‘Perché no? A 30 anni io e Michele siamo in cerca di normalità’, La Repubblica, 29 March 1984; quoted in F. De Bernardinis, Nanni Moretti (Milan: Il Castoro, 1995), 5. Our emphasis. J. Burns, Fragments of Impegno, 182. Burns actually speaks of an impegno that ‘went underground’, but we contend that in Moretti’s it is more visible than in other cases. L. Hutcheon, A Poetics of Postmodernism: History, heory, Fiction (London and New York: Routledge, 1988), 42–3. R. Rorty, Contingency, Irony and Solidarity (Cambridge: Cambridge University Press, 1989), 73–4. In Gili, Nanni Moretti, 11. In De Bernardinis, Nanni Moretti, 4. ‘Il senso del ilm è forse l’opposto di ciò che si vede e si sente letteralmente […] in realtà, a modo mio, ho raccontato agli spettatori alcuni anni di questo paese, e soprattutto ho espresso il mio sentimento su ciò che è stata l’Italia in quegli anni’; Gili, Nanni Moretti, 91. Mazierska and Rascaroli, he Cinema of Nanni Moretti, 136. hey quote S. Hall, he Hard Road to Renewal: hatcherism and the Crisis of the Let (London: Verso Books, 1988), 169. R. De Gaetano, La sincope dell’identità (Turin: Lindau, 2002), 41. Mazierska and Rascaroli, he Cinema of Nanni Moretti, 122. Ivi, 145. Moretti’s catch phrases also ofer a shared set of cultural reference points so that the constituency to whom they are addressed, can recognise, reinforce he Personal and the Political: he Cinema of Nanni Moretti 211 and reproduce itself; to use a Moretti phrase in a speciic social context is to announce the appartenenza of those present, and to give each a shared sense of belonging and mutual airmation. We owe this remark to a discussion with Alan O’Leary. 23 Mazierska and Rascaroli, he Cinema of Nanni Moretti, 140. 24 Minella, Noi riconciliati, 321. Montaldo played the role of the director of the ilm on Columbus in Il Caimano. 25 Explaining, for example, his claim that he only feels at ease ‘con una minoranza di persone’ in Caro Diario, Moretti confessed that it is not so much an ideological attitude than an instinctive one, ‘un atteggiamento più personale, non so se per questo meno politico’; Gili, Nanni Moretti, 85. 26 Bonsaver, ‘he Egocentric Cassandra’, 159. For further considerations about this ‘doppio sguardo’ created by the juxtaposition of the role of director and actor, see M. Sesti, ‘Storia naturale del cinema italiano’, in Facciamoci del male: Il cinema di Nanni Moretti, ed. P. Ugo and A. Floris (Cagliari: CUEC, 1990), 16–20; see also M. Marcus, ‘Caro Diario and the Cinematic Body of Nanni Moretti’, Italica, 73.2 (1996), 233–47 (236–7). 27 Gili, Nanni Moretti, 83. 28 On this see Bonsaver, ‘he Egocentric Cassandra’, 159–62. 29 Gili, Nanni Moretti, 57–9. 30 Ibid., 64. 31 Ibid., 84. 32 Ibid. 33 his mingling is staged in a absurd battle between the high-brow and the popular in Moretti’s early ilm Sogni d’oro (1981), the battle is actually staged, manifesting as a penguin ight between Michele and the director of musicals. 34 De Bernardinis, Nanni Moretti, 18. 35 With regards to Palombella rossa Bonsaver comments: ‘all the characters watch the raising of a farcical socialist ‘Sol dell’avvenire’, a huge sun propped up by scaffolding. he last words, similarly to Fellini’s 8 e mezzo, are let to the protagonist as a child who cannot help but laugh at such a grotesque scene’. However ‘the similarity with Fellini’s ending does not include the positive, self-fulilling emotion of Guido in 8 e mezzo. In La palombella rossa, Michele Apicella is ridiculed and defeated by a reality that he no longer understands’. Bonsaver, ‘he Egocentric Cassandra’, 166. 36 G. Coco, Nanni Moretti: Cinema come diario (Milan: Mondadori, 2006), 3. 37 Ibid., 14. 38 Ibid., 58. 212 39 40 41 42 43 44 45 46 47 48 49 50 51 52 Rosa Barotsi and Pierpaolo Antonello We hear the echo of João Cèsar Monteiro, another director that consistently employs the use of the ixed camera: ’Se si ilma da due punti diversi è perchè c’è qualcosa che non va. È necessario avere un punto di vista sulle cose’; cited in F. Giarrusso et al., João giullare di Dio (Bergamo: Cineforum, 2007), 149. Mazierska and Rascaroli, he Cinema of Nanni Moretti, 131. Bonsaver, ‘he Egocentric Cassandra’, 174. Gili, Nanni Moretti, 85. K. hompson, Breaking the Glass Armor: Neoformalist Film Analysis (Princeton, NJ: Princeton University Press, 1988), 198–9. Su questo discutono anche Mazierska and Rascaroli, he Cinema of Nanni Moretti, 126–7. Gili, Nanni Moretti, 69. Ibid., 7. Our emphasis. For De Bernardinis, Ecce Bombo is a ‘plastico, un modello, piuttosto che una inestra sulla realtà. […] Si conferma l’assoluta estraneità del cinema di Moretti a un approccio veristico delle cose: grido di battaglia, invece, di gran parte della critica favorevole o contraria’; De Bernardinis, Nanni Moretti, 23–4. A. O’Leary, ‘Review of he Cinema of Nanni Moretti: Dreams and Diaries by Ewa Mazierska and Laura Rascaroli (2004)’. New Cinemas: Journal of Contemporary Film, 3/3 (2005), 208–11. We owe this remark to Alan O’Leary, from his paper presented at the American Association for Italian Studies (AAIS) Annual Conference in New York, 7–10 May 2009, entitled ‘Against Realism (he Politics of Italian Film Criticism)’. Gili, Nanni Moretti, 95. G. Debord, he Society of the Spectacle, trans. by K. Knabb (London: Rebel Press, 1983), 9. Debord also underscored that in this regard Italy is quite an extreme case on the global level. For him both France and Italy are forerunners of what he called the ‘integrated spectacle’; cf. G. Debord, Comments on the Society of Spectacle (1988), Eng. tr. (London: Verso, 1998), 8–9. Bonsaver, ‘he Egocentric Cassandra’, 179. Mazierska and Rascaroli, he Cinema of Nanni Moretti, 127. As Moretti stated regarding Ecce Bombo: ‘Tra le tante cose, è stato scambiato per un ilm sul movimento del ’77, ma non c’entrava niente, era solo un ilm fatto in quel periodo. A me interessa la realtà, non l’attualità.’ P. D’Agostini and G. Pepe, ‘Sono molto bravo? Sì, ma soprattutto sono autarchico’, La Repubblica, 19 March 1981; reprinted in Facciamoci del male: Il cinema di Nanni Moretti, ed. P. Ugo and A. Floris (Cagliari, CUEC, 1990), 210. Gili, Nanni Moretti, 118.