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The main problem of The hummingbird in fact it is the way in which in the face of a structure that aims to shuffle the cards, amaze and in a sense to innovate (i.e. flatten all times and tell the 70s of the protagonist’s life attached to the 90s and then connected to a scene in the 2000s and then again to the 70s) is revealed with a very old skeleton and style, not to mention conventional for our cinema. It is the drama bourgeois as it was founded in the 60s and developed in the 70s, from there becoming a staple of Italian arthouse film. Families that fall apart, repressed emotions, layers of hypocrisy, inability to live their passions fully and with sentimental sincerity are the ingredients, gazes into the void are the expressive methods, flanking characters of great anger and passion with others more cold the solution. favorite. Over everything hangs an air of blame for these types of humans and that world.
Big scenarios, big houses, a little provincial respectability and the character who never fails, the most sensitive of others who, almost recognizing this hell of feelings, cannot resist and try to commit suicide. To all effects The hummingbirdalso for the characterizations in some cases coarse and pleonastic, it’s a movie out of our past. And not from the best one. Seen today, it sounds totally out of time, itself immobile like the character it tells and to define which one cannot avoid having someone say the phrase aloud: “Put all your energy to stay where you are. Just like a hummingbird”, So that it is clear to everyone what the theme of the film is, if you don’t understand.
Furthermore, in the face of then an obviously excellent production and realization not only in the acting sector, in which Pierfrancesco Broad bean does the usual overtime (although this time it is not clear what kind of accent you have and why you speak that way), Berenice Bejo struggles with a character not quite in focus, a Kasia Smutniak touches on the most insidious character to render (the most expressive and with the strongest tones and does not make it very well) and finally Nanni Moretti he is, as always, strangely at ease in the role of an analyst (seraphic, out of everything and for this reason then in such inscrutable ways inside the film, like an alien at ease), in the end this does not prevent the film from finding largely ridiculous moments. A scene with Broad bean who despairs grotesquely inside a Piaggio Ape with insistent dramatic music goes straight into the first place of the most hallucinating moments in Italian cinema of 2022. Hoping that something worse will not come to beat it.
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