For Chiara, directed by Jonas Carpignano

‘For Chiara’ is the mafia discovered through the eyes of a teenager. HOW TO SEE THE ANNE PAQUIN OF ‘The Irish’, you have been counting for the first time that her father lives in a Scorsese movie. A vivid nightmare of disappointments and anticipated maturity for a girl worried about the looks of others and the words that she cannot hear behind the glass doors of her own house. The suddenly absent father and the concern to obtain the answers that everyone refuses.

Visual narrative cinema built in mirror and dualities, from foreground to background, marking the hierarchy of values ​​of those who must choose between joining the family legacy, or shaking the ground of their lives, opposing everything they know and opening themselves up to the uncertainty of renunciation. To run into standing on an exercise tape, to have open field in front of you to sprint before a fog that does not let you see anything clearly. A story of individual maturity, but with the family always present, sneaking into close-ups from the very beginning, focusing on the tenderness of a chemistry between sisters that will be essential as an emotional pillar throughout the journey for Chiara.

‘Para Chiara’ is also Carpignano hitting us on the back, in the ear and in the sight of its protagonist, until we become accomplices in the journey, with a simple but solid and brave script in its ending, and with an image with a very delicate texture for the gaze of that teenager overwhelmed by the hidden truth that opens before her, leaving all the freshness and youth necessary to the sound to make you vibrate at each family gathering. Once again, Carpignano chaining great songs on a soundtrack where they sound from J Balvin’s ‘Baby’ to Alessia Cara’s ‘Here’, passing the ‘Voce’ by the Italian Madame or the ‘Altalene’ by Mara Sattei, Slait, Tha Supreme and Coez.

For Chiara, directed by Jonas Carpignano
Scene from “For Chiara”, directed by Jonas Carpignano.

Together with the directing work, the earthquake that shakes the work is the profound, slow and natural work of a Swamy Rotolo who becomes the absolute revelation of the film, as was the even younger Pio Amato in Carpignano’s previous work, ‘A Ciambra’, who we even see appear here with a small cameo for the filmmaker’s faithful, further solidifying plus the internal connection in his short filmography. Special fascination for that section of the film in which Chiara finds herself under the quicksand of confusion, Rotolo pulling out all her restraint to hold back tears of anguish and shock that only end up coming out in the freedom of solitude and in the suffocation of maternal confirmation.

‘Para Chiara’ is the perfect closure to that Calabrian trilogy that the Italian-American began six years ago with ‘Mediterranea’, leaving his mark now well marked in the field of deconstructions of the mafia genre. A classic but outstanding story of those that always project their virtues in an ascending rhythm, with an almost neorealist will in the frankness with which they pose all their narrative postulates. A delight not only for lovers of Italian cinema, but also for those who like those atypical coming-of-age films.

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