Il capitale umano
We open on a dark, snowy night in northern Italy—and begin at the end. Approaching a stranger’s tragic death from three vastly different perspectives, the lives of two families, at first only loosely linked by their teenagers’ relationship, overlap in multitudinous ways to devastating effect. Valeria Golina and Valeria Bruni Tedeschi, two of Italy’s leading actresses, star in a story based on Stephen Amidon’s best-selling book of the same name that twists love, class, and ambition into a singular, true-life story. As the players tumble toward an ill-fated event of which they are inextricably linked, Paolo Virzi’s refined three-chapter tale reveals a cultural and systemic disparity in the value of human life.
The often-abused device of filming the same scene from different points of view is handled with great sophistication here, adding just enough new info to advance the ongoing tragedy as it settles gloomily around the protags, without giving away the finale.
But the film is more than just a chic thriller. Alongside its clear - at times overly so - depiction the pain and vanity of social inequality, Virzi and the fine cast explore the unhappiness of rich and poor alike in a society that measures a person’s value in terms of euros. There’s a Gatsbyish echo here, but the feeling is closer to Luca Guadagnino’s 2009 classy upper bourgeois meller I Am Love and its memorable portrayal of Italy’s top class. Here things are a bit more obvious, like the early scenes of class politics on the tennis court, or an alarming parade of black limos that heralds a decisive stockholder meeting.
The term “human capital” is legalese that designates an accident victim’s net worth in compensation claims.
I have seen many movies in the last months, but this is very remarkable!
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