The story of love between Clara and her children is set in Rome in the 1970s.
“L’immensita” is the latest in an onslaught of identity-based stories striving for meaning with a hollow core. Full of uninteresting storytelling, it offers nothing beyond unentertaining, meandering stories centered around the misunderstood lead characters. Set in Rome during the 1970s, Clara (Penélope Cruz) is a Spaniard married to an unfaithful Italian husband who struggles with raising her three children in a city undergoing structural and societal changes. Rome is not the only city transitioning; Clara’s daughter Adriana (Luana Giuliani) wishes to become male. Preferring to go by Adri, the Trans youth considers himself an alien from outer space. Adri is an ally to his mother, to the uncomfortable point that their relationship seems a bit too codependent to be healthy. But it is better than being abused by her philandering husband.
Regarding 1970s Italian cinema, I prefer the Spaghetti Westerns, Antonini, and crime films centered on mafia tales. So, when I had to endure an opening dance number, I was flabbergasted. Although, I will admit there is a very cool dance sequence about halfway through the film. When in church, Adri imagines himself alongside his mother dancing center-stage.
One of the subplots involves Adri falling in love with an impoverished transient girl whose existence is outside the social norms. On the fringes, these two outsiders are the only ones to understand a non-conformist lifestyle or the experience of being marginalized.
Director Emanuele Crialese showcases an excellent eye for visual storytelling, most notably with his slick camera work. But the tone and story never fully come together. Also, we need fewer coming-of-age dramas unless there is some extraordinary tale to go along with it. Think “Ivan’s Childhood,” “The 400 Blows,” or even “Pan’s Labyrinth.” Those are entertaining stories with meaningful moments. Whereas the latest mainstream media focusing on toxic masculinity is becoming low-hanging fruit for filmmakers to make their films “about something.” While I am all for dismantling the patriarchy, whatever that means in a material sense, I am so sick of seeing movies using it as a plot device or a cheap crutch. It ultimately appears to be a new cover for more cinematic trauma porn. Socially conscious Art needs to be transcendental, but when “L’immensita” attempts to soar, it crashes and burns.
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