La terra dell’abbastanza (2018)

Directed by: Damiano D’Innocenzo, Fabio D’Innocenzo | 95 minutes | drama | Actors: Andrea Carpenzano, Matteo Olivetti, Milena Mancini, Luca Zingaretti, Michela De Rossi, Massimiliano Tortora, Giordano De Plano, Yan Lovga, Nicole Centanni, Walter Toschi, Andrea Di Casa, Demetra Bellina, Maristella Burchietti, Tania Orlandi, Claudio Graziano

The D’Innocenzo brothers – Damiano and Fabio – made their first international appearance as (co) screenwriters for ‘Dogman’ (2018). This film by Matteo Garrone (known for ‘Gomorra’, 2008) is not so much about the local mafia as it is about the mutual relationships in a poverty-stricken suburb of Rome. The twins use the same setting in their directorial debut ‘La terra dell’abbastanza’ (2018), in which they take the underprivileged situation of their two young protagonists as a breeding ground for a fateful tragedy. During their pizza delivery round, Manolo (Andrea Carpenzano) and Mirko (Matteo Olivetti) muse about their future; do they become a cook, or rather a bartender? They don’t really have many other options. But then they suddenly run over a passer-by, and the man remains lifeless. Mirko, who was behind the wheel, suggests informing the police, but Manolo is determined and urges his best friend to accelerate. Get away quickly, before they can be linked to the accident.

The next day, Manolo’s father Danilo (Massimiliano Tortora, normally a comedic actor who takes a completely different approach here) discovers that the man who killed the boys was an informant for the police. So unknowingly, the two friends have done the underworld a favor. Danilo immediately sees opportunities for his son to gain a foothold in the local mafia and thus make his way out of their poverty-stricken existence. But then he has to say that he was behind the wheel and not involving Mirko. Manolo doesn’t dare to say no and follows his father’s advice. He avoids Mirko, who struggles with his guilt and frustration towards his hardworking mother (Milena Mancini) and his girlfriend (Michela De Rossi). If Manolo really wants to join the clan, he has to kill someone. He visits Mirko again for that job. Because even though it soon becomes clear that Manolo is the one least bothered by his conscience, without his best friend by his side he is not as hero as he would like to be. After that first job, more will follow soon. And before they know it, they are errands for mob boss Angelo (Luca Zingaretti) working as hitmen, pimps and blackmailers.

How fast can you lose your innocence? We see this in ‘La terra dell’abbastanza’, shot in atmospheric color filters. Manolo and Mirko are initially two blank pages, but one wrong decision turns their world upside down and will haunt them forever. The D’Innocenzo brothers (what’s in a name?) paint a picture in which you can imagine yourself making the choices the boys ultimately make. Manolo’s father lives in a shack, Mirko’s mother has to turn every cent into their livelihood. In that state your moral values ​​fade: Danilo urges his son to join the mafia and Mirko’s mother is disgusted by her son’s career choice but accepts his dirty money because she can’t live without it. Once the choice has been made to work for the mafia, the boys have in fact signed their death warrant. Not only does the viewer notice this, but it also seems to get through to Manolo and Mirko themselves. Once there, there is no going back. Mirko shows the back of his tongue significantly more than his best friend Manolo, who seems to shut himself off from his emotions and goes to his goal with blinders. Looking back is not an option for him. He doesn’t seem to be able or willing to afford to feel anything about his actions.

Mirko, on the other hand, is a barrel full of emotions. You can see the panic in his eyes from the moment he drives over the informant. He is not nearly as cold-blooded as his friend and would rather do what his mother has always taught him is right. But he is also insecure and does not dare to make decisions himself; he prefers to leave that to Manolo. And then shout out his frustrations. Mirko is portrayed fantastically by the as yet unknown actor Matteo Olivetti, who grew up in Great Britain, but is nevertheless truly primal Italian. His emotions are intense and raw. We feel his anger and frustration and see the despair in his eyes. By frequently filming him close-up and being close to the skin, the D’Innocenzo brothers only reinforce this. Incidentally, that intensity is completely lacking in his opponent Andrea Carpenzano, but that is of course also due to the character differences in the characters. This is also extended to the parents, because Mirko’s mother also splashes off the canvas much more than Manolo’s father. Her suffering is much more poignant, her confrontations with her son are much more intense because she shows her feelings more. And that makes it easier for the viewer to empathize with her.

‘La terra dell’abbastanza’ is a nice introduction to the D’Innocenzo brothers, who have clearly been inspired by the neo-realistic style of their illustrious compatriots Visconti, Rossellini and De Sica and have given it a contemporary look. They are also indebted to Garrone and even Coppola (the dinner scene with a breastfeeding lady would not have been out of place in a Godfather film), but they clearly distinguish themselves by never letting the violence be gratuitous but showing the murder scenes at an appropriate distance, without any clear to show who is shooting and what is happening. It is true that we have seen these kinds of films before, but the D’Innocenzos ensure their right to exist thanks to a sensitive personal style and a clever choice of actors; especially Matteo Olivetti makes a deep impression. We certainly hope to see him more often, whether or not in the next D’Innocenzo film!