Megalomania Tommaso is an elderly director who likes to remember with nostalgia those days when movies were just beginning to be shot on camera (oh, this is really an elderly director!). He has already 6 years since he quit drugs and moved from the New World to a calmer Rome, where he lives with a Moldovan woman two times younger than himself and a three-year-old daughter, and also teaches something reminiscent of acting lessons.
The director is trying to give his main character some complexity, resulting in an active lifestyle - teaching, mastering the Italian language, creative work on a new film, spiritual practices of the Eastern kind. This helps to learn something about Tommaso, but in fact the whole problem of this working on himself, trying to build a full life of the character is reduced to the disorder of his personal life – his wife Nikki is somehow distant from his Tommy.
Of course, they have a relationship, and sometimes they manage to spend time together. Age differences, cultural differences – we like to tell you that this is not a problem for loving hearts. Loving hearts prove to each other that they are trying and working hard on relationships and caring for each other. So why is he bringing girls from work? They look at him as a foreigner from a very distant country. Like Nicky, I guess. It seems that replacing Nikki with any other of these women will not change anything.
Why then does Nikki tell her husband what he will do, what he wants and when he wants (perhaps with whom he wants)?
Of course, he needs his wife to call him into the kitchen when lunch is ready. And Nikki doesn't. Of course, he needs his wife to wait a minute for him to go into the store. And Nikki throws them/his stuff on the sidewalk and walks away.
There are many women around him who agree on many things. But love from them should not be expected - in their eyes and behavior something different, not at all what he sneakily saw in a kissing couple. Tomazzo does not find someone to give his heart to in exchange for the same priceless gift, and the director takes his heart, turns him into a villain and raises him in the center of the eternal city, endowing him with the confident gaze of a second, Mad Robber. He did not want to know that he was worthy of his fate. Tomazzo confesses that he abandoned one of his daughters. Is it worth waiting for family happiness after this, even if everything else is done very well?
5 out of 10
Original