This is usually not a good sign when the beginning and end of the movie give you the movie itself lacks important information. But that's what happened go outThis is the time when Italian writer Goliarda Sapienza was both a prisoner and a former criminal, during which relationships were established with prisoners, which inspired some of her best literary works. If Mario Martone is too tame, then guide effectivelyNostalgia), starring Cannes regular Valeria Golino (Rain man), the film should find audiences in places where Sapienza books are popular, mainly Italy and France.

The author became famous in her novel "In Her Homeland" The art of joypublished in 1998. It was a key and commercial success that turned Sapienza into Sapienza, who died two years ago, becoming the main voice in Italian literature. Prior to that, she lived a fascinating life, growing up in Sicily with the parents of the socialist-Arak family, fighting in her father’s guerrilla brigade during World War II, acting on stage and film (including playing a small role in Visconti's Feel) and attempted to get into poverty among the troubled writers in Rome until she stole a friend's jewelry and found herself locked up.

For those who are not familiar with Sapienza's life or work, most of them can be clearly stated through the title card. Otherwise, Martone and Ippolita di Majo's script focused only on the time Sapienza spent in prison - which looked like a few months in the movie, but actually only five days - and later with her as prisoner Roberta (Matilda de Angelis), his young enough daughter.

Set in 1980, go out The telescope between the prison scene and life outside was already back in the mid-1950s at Sapienza to her home in Rome, trying to write. When she received a call from Roberta, who had just been released from prison and sought a reconnection, she began to recall the days they were together. Cross-cutting may feel like some system, but it also adds some dynamic attitude to the film, and it is a chronicle of women’s rapidly growing friendship rather than a mature drama.

That doesn't mean that Roberta's life isn't full of conflict: She steals cars every night while she's stealing and shooting heroin. Sapienza seems to be fascinated by the young woman who can speed up their hearts, show tempting behavior in one scene, and then despise the older women. The two eventually tied to former official Barbara (Italian pop star Elodie), who now runs a perfume shop. Together they formed a unique bond that was more attractive to Sapienza than the sloppy writers and intellectuals of all the bourgeois worlds.

The author's attraction to the lower classes of crime makes her book, especially Rebibbia University (named after the place where the incarcerated) and The certainty of the questionso fascinating, but not necessarily making the cinema great.

Martone prefers an academic style, even if technical credits are made in all departments, even if technical credits are won. Photographer Paolo Carnera provides the scene with footage (My captain) and the entertainment of 1980s Rome by production designer Carmine Guarino (God's Hand) After professional processing. Valerio Vigliar's attractive score is another advantage. But not a sequence go out Try to really stand out.

Golino also wrote and directed six parts of TV adaptations The art of joy (The pilot premiered in Cannes last year), convincingly embodying a woman of a rebel in her own time. The actress is actually in a nude scene in some nude scenes, whether it’s when she arrives at the prison or in a cheesy shower sequence, with Sapienza, Roberta and Barbara bathing in the back of the perfume shop as if they were in prison in the past. De Angelis shows explosive performances as a girl can do nothing, oscillating between playing daughter Sapienza never had and becoming a potential love interest.

go out In Italian, it means “outside”, the film claims to be life after jail, which is usually a continuation of what’s going on in prison, which is why so many former officials eventually return. It's a thought-provoking subject that may play a better role on paper than on screen, urging us to look for the author's book after the film is over.