Ciro’s body is sinking in the dark waters of the Gulf of Naples. And as it sinks deeper and deeper, memories emerge. The sounds muffled by the water merge with the screams of fleeing people. It is 1980, the earth shakes, the palace collapses, but under the rubble you can hear the cry of a newborn baby still alive. Ten years later, we find that new-born baby as it survives as it can on the streets of Naples, nobody’s son. Vivid memories of a criminal education that made him what he is: Ciro Di Marzio, the Immortal. Prequel of the “Gomorra” tv show.
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A devoted young woman becomes ensnared in a web of sexuality and betrayal in Jean-Pascal Hattu’s consistently unpredictable and finely wrought character study. A vividly realistic psychosexual drama, the film’s sharp emotional honesty heralds a distinct new voice from a promising young director. Hattu soon reveals that Maite’s husband Vincent is in prison for an unspecified crime, and that she has promised to wait for him and attend to his laundry (if not his conjugal needs) during his incarceration. On one of her weekly visits, Maite meets Jean, an oddly inquisitive and boldly flirtatious prison warden, and soon the two commence a joyless affair. Seemingly smitten with Maite, Jean, in a gesture of kindness to his lover, eases up on her husband behind bars; the two become pals and even engage in some homoerotic shower talk. —Robert O’Shaughnessy
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