Living in a state of constant FOMO (fear of missing out) carries an underlying sadness. It’s about the moments you might miss if you don’t attend an event or leave a gathering too soon. In the Italian filmmaker Francesco Sossai’s free-spirited and charming sophomore film “The Last One for the Road,” characters Carlobianchi (Sergio Romano) and Doriano (Pierpaolo Capovilla) appear to have found a solution for FOMO – they live it every day. To these financially strapped, good-natured, and often inebriated men, each drink is their last one, until the next one that inevitably follows. For them, the party never truly ends.
Fortunately, Carlobianchi and Doriano avoid coming across as boozed-up, unscrupulous characters (as some heavy-drinking older men might be) and instead, their tipsy camaraderie has a fairytale charm – it’s almost like they are married, but in an Italian way. Their constant joviality may appear cozy at first sight, but there is a melancholic undertone to their lives, lurking just beneath the surface. The past seems to be slipping away from them rather quickly. And the 2008 financial crisis might have hit them hard, being a couple who had spent most of their money. If only they could find the substantial amount of money that their former friend buried somewhere in town before he departed for Argentina. Perhaps they will someday, once they’ve had their last drink.
Titled “The Last One for the Road,” written by Sossai and Adriano Candiago, this story keenly and perceptively explores the fears of aging that its characters experience, particularly those who find themselves not quite old but not young either, such as the ’70s-born Carlobianchi and Doriano. It’s a time in life where events you thought occurred only a decade ago are actually remnants from three decades past, and time seems to relentlessly move forward without pause. Given this reality, it’s understandable that these characters would cling tightly to the present moment.
Although Sossai doesn’t openly express his sadness, it subtly permeates his modest appearance, casting a wistful, melancholic tone reminiscent of Alice Rohrwacher’s fable-inspired films. The somber yet poignant atmosphere of Rohrwacher’s movies echoes in the adventures of Carlobianchi and Doriano as they hop from bar to bar, swapping tales (some true, some fictional), offering life guidance to all they encounter, narrowly evading the police during low-key yet thrilling chase sequences, and ultimately ordering a drink that won’t be their last. Beneath their relentless travels lies the breathtaking Venetian countryside, places and towns seemingly suspended in a transitional phase, much like Carlobianchi and Doriano – straddling the line between urban and pastoral.
A wise strategy for older individuals might be to share their accumulated knowledge with younger generations, instead of Carlobianchi and Doriano frequently forgetting the insights they’ve gained (given their heavy drinking habits), they take on mentoring the young architect-in-training, Giulio (Filippo Scotti), who seems lost but curious.
Initially boasting a free-spirited and daring narrative style, “The Last One for the Road” later adopts a more traditional approach as the trio embarks on a lively yet uneventful road trip. The introspective elements that the movie had been exploring start to diminish slightly, making the extended scenes of the older duo counseling Giulio on romantic matters seem somewhat predictable and formulaic. The smug grin that timid Giulio sports after this advice results in a familiar scene as well.
The film “The Last One for the Road,” beautifully captured on film stock, offers much more than just its stunning visuals. Sossai skillfully depicts an array of architectural wonders during the road trip of the central trio, from grand mansions to sleek modern buildings, adding depth and unpredictability to their spontaneous journey. The script’s natural, conversational flow, reminiscent of Richard Linklater’s works, allows characters to bond organically and express themselves freely. A humorous moment about the origin of shrimp cocktail adds a nostalgic touch from the ’90s. When the narrative begins to feel a bit monotonous, a sprinkle of suspense elevates the movie as the trio collaborate in a small con while enjoying delicious daiquiris.
In simpler terms, “The Last One for the Road” doesn’t leave you feeling like you’ve encountered something incredibly unique or groundbreaking. However, it has a comforting, everyday charm about it, and Giulio’s journey is satisfying even if it’s predictable. During one of the film’s leisurely scenes, Carlobianchi and Doriano unintentionally enjoy an unexpectedly sweet flavor of ice cream, instead of the bitter taste they were expecting. This could symbolize their lives as well, a reflection but in reverse. Essentially, “The Last One for the Road” aims to offer its viewers a delightful experience when everything else seems sour.
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2025-05-25 11:16