Even only credited as the leading actor and co-writer of the film, actually I think Nanny Moretti is actually the man behind the curtain. Like THE SON'S ROOM (2001), instead of losing the son, this time it's the wife's turn, and another prominent change is that in CAOS CALMO the emotional level is subtler, submerged underneath the appearance. Which in one hand gives some mundane breath, in the other hand is on the verge of being boring. At the beginning of the film, Nanny and his brother save two women (one is Isabella) and later find out that his wife has died of an accident, the coincidence conflicts between life and death is profound and utter, which gives a ridiculously authentic feeling. The sex scene between Nanny and Isabella is a little bit awkward as all of us were in dead silence while watching it, Obviously Nanny is not Brad Pitt (maybe he is a little bit older now), or let's say Sam Washington (he is a hottie, right?), thus I have to say it is not pretty and rather long, I highly doubt the necessity of its existence, does it signify a way of atonement for his wife? P.S. Roman Polanski's cameo is a surprise, the content of what they are talking inside the car is undistinguished, apparently it helps to begin a new journey for the miserable (maybe not) man and his lovely daughter.http://xingshizuomeng.blogspot.com/

Title of the movie that is. There's always bad things happening to people and I'm pretty sure, that you as a reader have experienced grief and loss in your life. Some talk about the yin and the yang of life (let's just say that I personally do also believe in that ... believe).The title character is portrayed wonderfully by an apparently popular Italian actor. I've seen him before, but I'm not as aware of his biography as other reviewers here. Maybe that makes me more open to his performance, I can't say that for sure. But since this is a character piece/movie it does help that the main actor is as good as he is. Of course the support cast, does help him a lot too.Since this movie is all about feelings, it's only normal that near the end there is an "explosion" of emotion ... it's also normal, that some of the female audience members were bedazzled (in a bad way) by that particular scene. And the end is just ... normal. But then again, that's life for you (and me) ...

Can't understand all the fuss about this movie. Yes, the photography is beautiful, but that's about all. Nanni Moretti is very good at playing himself, as usual, no matter what's the name or the role he is given. It's been said that's a movie about the absence of grief: but even to that effect the sense of grief should be somehow, somewhere implied, which it is not in the least. The ending is there just because the movie had to be ended, but it could have happened like that at any point. There is no change or development. Seemingly adult people talk as if they were permanently immature teenagers and a little girl comes out with a typically adult comment on her pairs. Comments upon life, society, corporations, etc., are a sequel of common places typical of talk shows. Would be dramatic sequences seem picked out from fashionable advertising clips and have the same emotional impact. The overrated and over-discussed torrid sex scene is just a softer imitation of hard core platitudes. No doubt there was matter for drama, but apparently the author didn't know how to deal with it: may very well be that, under this viewpoint, the script has been quite truthful to the Veronesi's novel it's been based on.

Nanni Moretti (playing the role of an experienced TV executive) at some point says: "...Take care about Italian cinema? Yes, of course. It's everyone's priority!". It's not the first time that filmmakers mix art and reality and this time the result fits perfectly. "Caos calmo" has a simple but intriguing plot. Most of the movie takes place around a bench in a park but there's nothing surreal (A part probably from a spicy sex scene...) and it never looses rhythm or credibility. If you like Moretti's movies you're gonna love it but you'll be much more interested if you are wishing to see a fresh and sweet'n'sour story. Despite a mournful start (The death of a mother/wife) Grimaldi tries not to show us tears or desperation. We see a huge number of hugs instead and a large amount of children (The bench is in front of a school). We see sunny days and professionals on their break, enforcing the "human" aspect of every character. The film is never raw as it's never too soft. I think that next time Grimaldi should be allowed to push a little bit more in order to find his own mark.