But just because those things are old doesn’t mean they‘re irrelevant, and Alice Rohrwacher’s film inventively examines how people react to innocence: how they exploit it, how they … Considering the situation we find ourselves in, there is something especially meaningful in Lazzaro’s ability to transcend the suffering that surrounds him and remain untarnished – and, above all, kind. AKA: My Bitter Land. “Lazzaro,” they cry, and he appears, a smile on his face. While it renders a touch heavy-handed in the film’s final act when Lazzaro hastily tries to put his fairest foot forward amid a world ruled by merciless capitalism, Rohrwacher still manages to pack an undeniably poignant punch with the simplest of questions: in a world defined by helplessness and social injustice, how far would one get by instincts of basic decency alone? How can I help?” And off he goes, carrying a bale of hay, or to make someone a complicated-looking cup of coffee. The Italian hills have never looked less bucolic than in this strange, melancholy film. Now free from the enslavement of Marchesa but trapped inside another cycle of poverty and societal oppression, Lazzaro’s people scrappily and secretly live in a water tower-like space and make ends meet by any means necessary out of desperation. Lazzaro is a reliable, hardworking boy who barely utters a word. Powered by Content Blender In that, it should be sufficient to identify Lazzaro’s resulting journey as a spiritual time-travel that introduces a mystery akin to the twist in Olivier Assayas’ “Clouds of Sils Maria.” In the second part of her film, Rohrwacher navigates an Italian city in the near future (the exact year is still unidentified) through the soulful eyes of a lost and cold Lazzaro, who calmly searches for his family and dear friend Tancredi. Soon, his affability draws the attention of a young nobleman, the rebelliously spirited Tancredi (Luca Chikovani), who is vocally repulsed by his family’s unlawful and morally bankrupt ways. A wolf stalks the land as darkness falls, and the local farmers scramble for the few available comforts to get them through the night: a functioning lightbulb, some anchovies, the final sips of wine left in the house. It’s something that feels as outdated as Catholicism and flip phones. What he also represents is the conscience of an entire nation – one it can’t seem to live with in the end. There are fables about good men and royalty and supernatural touches. Guided by friendship, duty and loyalty, Lazzaro agrees, unknowingly leading the way to an unspeakable tragedy. It is not a film that provides easy answers, allowing viewers instead to draw their own conclusions. Meet The Team Happy as Lazzaro is streaming on Netflix in the US and Amazon Prime in the UK, Available for everyone, funded by readers. His bright idea is to fake a kidnapping and extract ransom money from his hardened mother but she refuses to pay and when the police are finally called, the workers discover the truth about the life they’ve been living all these years. They are sharecroppers, a practice made illegal in Italy in the 70s, but their isolation from the modern world has left them unaware of their rights. Happy as Lazzaro possesses a keen attention to concrete physicality. Inevitably, things do not go as planned. What ensues is a quietly profound tale about pain and redemption, taking in everything from the exploitation of workers to meditations on human dignity. Slowly Lazzaro emerges as the centrepiece of the film, where he makes friends with the Marquises’ spoiled son, Tancredi (Tommaso Ragno), who decides to run away from home and hide in Lazzaro’s secret cliff-side den. Or perhaps not. Happy as Lazzaro 2018 13+ 2h 7m Italian Movies Purehearted teen Lazzaro is content living as a sharecropper in rural Italy, but an unlikely friendship with the marquise's son will change his world. Slowly, she folds in a method to their madness, where there is only a single light bulb to go around, youngsters are expected to consult and respect their elders and a sense of order, for better or worse, keeps their world intact. Time is never clearly defined in Lazzaro’s (Adriano Tardiolo) world and as a shocking mid-film twist later reveals, neither does it seem to matter to the young man. He exists as some sort of Christ-like figure who has been called to witness humanity’s sins and frailties. Alice Rohrwacher’s sparkling third feature has more magic up its sleeve than at first appears. Rohrwacher, who previously explored similar themes around the clash of the countryside and the urban with “The Wonders,” throws you right inside of a mostly dilapidated house somewhere in rural Italy, occupied by generations of people in stained cotton and linen.
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