Out: Valeria Golino, Matilda De Angelis and Elodie are the trio that we didn’t know we wanted

If there is a director who managed to shoot films built on the silences, the non -said and the motions of the soul that is Mario Martone. In Outthe only Italian film in competition at the last Cannes Film Festival, Martone has decided to raise the bar even more by entering the body and mind of one of the most underestimated writers of the Italian twentieth century, One of those who, as she herself in the film, had to wait to have died to obtain respect and esteem she deserved in life. She is Goliarda Sapienza, Woman of rare intelligence and sensitivity, funambula of thoughts and words as well as broken soul and marked by deep scars that the film suggests but does not show. The goliarda wisdom of Outto which the face lends An amazing Valeria Golino who transposed the most important work of Sapienza, The art of joyin an unmissable series for Sky, it is deep and at the same time carefree, always with a notebook in hand and a glass of whiskey full of ice in the other. It contemplates life and what surrounds her but, above all, contemplates humans who come into contact with herin particular two broken souls as his broken: Roberta di Matilda De Angelismore and more exceptional, and the Barbara of Elodiemagnetic and fascinating.

He met them when he served a penalty of jewelry theft in the Rebibbia prison: in that microcosm regulated by internal revolts and punching punching on the cheeks to obtain respect and affect fear, The three women meet and give life to a bond that seems to go beyond friendship. While keeping each one a certain wound – Roberta is dependent on drugs; Goliarda is dependent on writing even if it does not publish anything, and Barbara is dependent on a man – these three women, when they are together, understand each other even if they do not talk and complement each other even if they don’t want to. Through Goliarda’s naive and almost childish smileBarbara’s thin wrists and Roberta’s vital and propulsive force, Martone shows how, in some cases, it is only the encounter and contact to ensure survival and allow three souls that have been “inside” to live and fight “outside”.

In the midst of this disordered whirlwind of strangled emotions and suspended suggestions and these continuous references between the past and the present, between the prison and the solar and clean Rome of the eighties, the viewer is called to savor what Out It transmits without, however, to understand it all the way. Outin fact, it is a complex film, which does not arrive immediately and which has a more emotional plot than of action, But it works for this: because Valeria Golino who notes everything on a notebook and Matilda De Angelis who settles the hair explaining that love is not only passion but also need to get what you want are nothing more than wedges of a ruined humanity asking life for a second chance. The redemption, as we will see in Out, It will not come for all and, above all, will not come when they can enjoy it: it remains, however, the beauty and intensity of that exchange, symbolized by that crazy show of the three -way shower – perhaps a reference to the tender scene of the tank Nostalgiawhen Favino washed the elderly mother as if she were a child – who has nothing mischievous and nothing rough because true beauty lies in the encounter. And we will never thank Mario Martone and the screenwriter Ippolita di Majo To have remembered it.