‘Fuori’ Review: Jailtime Revives a Middle-Aged Writer’s Mojo in Mario Martone’s Uninvolving Literary Biopic

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The selection of movies that portray prison as an enriching experience is limited, making Mario Martone’s latest film “Fuori” stand out for its uniqueness. The movie centers around the late Italian author Goliarda Sapienza, who served a brief five-day sentence in her mid-fifties for stealing a friend’s jewelry. Upon her release, she expressed finding more camaraderie and comprehension among her fellow prisoners than within the exclusive Italian intellectual circles she had long tried to penetrate. Even if you’re unfamiliar with Sapienza’s literary works (and that is often the case outside of Italy), this premise suggests a compelling, emotionally moving mini-biography. However, instead of focusing on this story, Martone’s film tries to create something more abstract and broad, resulting in a repetitive, non-linear narrative that can be emotionally dull and at times exploitative.

Following an extended stint of Venice-debuted films steeped in Italian historical context, some of which might generously be categorized as having broad appeal, Martone stepped back into the Cannes competition fray with “Nostalgia” in 2022 – a captivating Neapolitan crime drama graced by the acting prowess of Pierfrancesco Favino. At 65, this marks the director’s first foray into fiction since then and finds him back on Cannes’ main stage, albeit in a manner that feels more niche compared to his previous work. The inclusion of internationally recognized talent like Valeria Golino as Sapienza provides a handle for global distributors, but this intricate and somewhat muddled portrayal offers little depth for those outside the inner circle, offering scant understanding of a woman who is famously known as one of the greatest writers of the 20th century. As a movie enthusiast, I’m always eager to explore diverse narratives, but this film leaves me yearning for more insights into her extraordinary life and work.

The novel “The Art of Joy,” penned by Sapienza, barely made it into the last century as it was published in 1998, two years following her death at the age of 72 and twenty years after its completion. An English translation didn’t appear until 2013. Since then, her reputation has largely expanded posthumously, with “Fuori” revealing Sapienza at the start of the 1980s, unknown and unpublished beyond some minor works. With a series of grandiose titles that portray her as both inspiring love and fury, she is first depicted undergoing a strip search upon entering Rome’s Rebibbia women’s prison. Later, we find her in the aftermath of her brief imprisonment, struggling financially to secure even lowly employment.

The movie maintains an unsettled pace, as the creators, Martone, Ippolita di Majo, and editor Jacopo Quadri intentionally keep audiences guessing about Sapienza’s past by revealing crucial details sporadically throughout the narrative. A significant revelation, such as the reason she was imprisoned, is not disclosed until halfway through the story. By this point, we have already seen the strong bond Sapienza forms with Roberta (Matilda de Angelis), a rebellious young inmate addicted to heroin, and a more vague connection with Barbara (Elodie, an Italian pop star), Roberta’s friend. The movie primarily focuses on this female alliance as its main theme.

The connection between Sapienza and Roberta – a blend of friendship and intrigued amusement – persists upon their release, as they frequently meet at secret spots around Rome to drink excessively, engage in questionable activities, and discuss their tumultuous lives. Their interactions often display a passive-aggressive pattern that can become monotonous, with the older writer viewing the younger rebel as a subject of study, while she resents this very scrutiny. They move in circles, so to speak. However, Sapienza’s fascination with Roberta is evident: De Angelis portrays her brilliantly as an unpredictable, self-destructive character, even if the script could have provided more depth for her. The film comes alive whenever she appears on screen.

It’s uncertain if Sapienza’s feelings towards the young woman extend beyond friendship, as Golino’s subtle performance suggests a variety of potential deeper meanings behind a worn, melancholic look – or perhaps the movie is exploring its own sensual interpretations. In this film that appears to be feminist in nature, it’s challenging not to perceive an intrusive male gaze during an unexpectedly explicit scene where the three ex-prisoners spontaneously decide to shower together. Although the story is loosely based on various works by Sapienza, her unique authorial style isn’t fully present, and the narrative often feels aimless and disorganized, moving from one episode to another. Directed by Paolo Carnera, the cinematography captures everything in a perpetual golden late-afternoon glow. The film touches on themes of class differences and changes in female identity across generations, but it doesn’t delve deeply enough into these ideas to develop them fully. As Sapienza describes herself as a ‘story thief’, “Fuori” adopts her narrative threads, but some meaning seems to be lost along the way.

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2025-05-21 01:16