Loose Cannons (Mine vaganti) is a beautiful movie about a young gay man in a large, loving and eccentric Southern Italian family. His plan to free himself from the family pasta business by coming out as gay misfires early in the movie, and the remaining ninety minutes cover how his dilemma is resolved.
But this is far, far more than a coming-out movie. Themes of life and death and family and love and loss and immortality run like deep, rich rivers of life throughout the story; it is astonishing how much emotional ground is covered so effectively and gracefully in so little time. Each one of the dozen or so highly differentiated characters is fully and richly developed, and not one of them is short-changed or stereotyped.
I bought Loose Cannons because I have loved the earlier works of Ferzan Ozpetec, particularly His Secret Life (Le fate ignoranti), Facing Windows (La finestra di fronte), Sacred Heart (Cuore sacro), and - most of all - Saturn in Opposition (Saturno contro), but Loose Cannons surpasses them all. Each of its predecessors had minor flaws and occasional weak moments, but Loose Cannons has none.
As usual in his movies, photography, sets and music are highly original and perfectly fitted to the story: if it were a silent movie it would be beautiful just to look at; if it were a radio program it would be delightful just to listen to. This is the first of his movies to integrate a significant amount of comedy into his usually serious but highly imaginative dramas, and he does it expertly; I laughed out loud almost as often as I wept with delight.
This movie is a masterpiece. I cannot imagine how a better movie could ever be made; but Ozpetec is young still, so I am confident he will do it somehow. I can say without any reservation at all that this is the best movie I have ever seen.
But this is far, far more than a coming-out movie. Themes of life and death and family and love and loss and immortality run like deep, rich rivers of life throughout the story; it is astonishing how much emotional ground is covered so effectively and gracefully in so little time. Each one of the dozen or so highly differentiated characters is fully and richly developed, and not one of them is short-changed or stereotyped.
I bought Loose Cannons because I have loved the earlier works of Ferzan Ozpetec, particularly His Secret Life (Le fate ignoranti), Facing Windows (La finestra di fronte), Sacred Heart (Cuore sacro), and - most of all - Saturn in Opposition (Saturno contro), but Loose Cannons surpasses them all. Each of its predecessors had minor flaws and occasional weak moments, but Loose Cannons has none.
As usual in his movies, photography, sets and music are highly original and perfectly fitted to the story: if it were a silent movie it would be beautiful just to look at; if it were a radio program it would be delightful just to listen to. This is the first of his movies to integrate a significant amount of comedy into his usually serious but highly imaginative dramas, and he does it expertly; I laughed out loud almost as often as I wept with delight.
This movie is a masterpiece. I cannot imagine how a better movie could ever be made; but Ozpetec is young still, so I am confident he will do it somehow. I can say without any reservation at all that this is the best movie I have ever seen.