Il Posto

Hints at a gentle romance, teasing us with lovely, charming scenes that plant the seeds of a courtship... but the cold impersonal reality of the workplace overwhelms it. There's a lot of marvelous comic bits, such as the battery of absurd questions asked during the job interview. It's a stunningly filmed piece of work, I really like Olmi's subtle visual style.

Such a raw human portrayal of youth trying to grow up and adapt to the world while keeping some sort of identity. The film is slow and meditative but it hangs on the details and the emotions of the lead character which are wonderfully executed.

If the sense of romantic longing is less acute than in I Fidanzati, the ennui is certainly on par, and is bolstered by a surprisingly keen comic sensibility. (Though, to quote Ralph Wiggum, it's generally not "ha-ha funny.") Few directors can so effectively convey the significance of life's small moments as Olmi does, where the tiniest action speaks volumes in place of words. And he sure makes everything look beautiful to boot.

audiovisual 76 acting 80 overall feeling 85 avg 80

I liked this for the most part, but at the end it kind of had me wondering what the point of it all was. To some degree I think that was the point it was making--it's definitely very concerned about the pointlessness and soullessness of bureaucracy and it feels real, but it just left me wanting something resembling more of a resolution. The protagonist resonated with me in some ways, though, and it's very well done. It worked for me a lot better than some neorealist stuff has.

Estreava há 60 anos no Festival de Veneza. Poderia dizer que é quase kafkaniano ao mostrar a máquina de moer gente que são os escritórios, não por acaso o filme encerra com o suicídio de um funcionário e mostra nosso protagonista pronto a se anular por décadas atrás de uma mesa, assim ele busca num flerte os meios para aguentar os infortúnios dessa vida de burocracia e quem já trabalhou nesse tipo de emprego nulificador sabe que é o afeto que nos mantem vivos nessas condições. WE

non voglio lavorare dopo questo film

Gêmeos

Humblingly humanistic.

Sadly, the second half doesn't live up to the first. If there was any drive in the story of the second half, it would rise above the level of fine pictorialism. There is no hint if the protagonist will be same as the older employees or if he will create change. In the end this is a beautifully shot rite of passage, nothing more.

Well-observed details and good performances.

A rather uninteresting story with little substance. If this movie shines in any way, it is with the main character. He is young, and very insecure and shy. I found him, and the movie, to be rather boring, but in a sense I can also relate to the main character in ways that made some scenes quite interesting. It's ok, but nothing I would recommend.

Star Rating: ★★★

italian neo-realism beats the hell out of french new wave any day of the week. hell, the tend to follow the same principles, i don't see why the french couldn't do it right. this is a great movie, it's awkward, schmaltzy, and entertaining. olmi found a way to make me laugh without telling a joke.

Seems to a personal memoir of the filmmaker's first job, and a budding romance. Reminiscent of Neil Simon's semi-autobiographical plays--except the humor and touching moments are found in facial expressions and quiet moments, rather than witty dialogue. (There's almost a deadpan quality.) (probable score: 84)

#942

Wow, Loredana Detto GOAT beauty, no wonder Olmi married her. The film is also really good, great even.

926

Simple and brilliant.

893

Excellent work which I think transcends the Italian neorealist tradition, to reach a stark hyperrealism, with its modest but piercing look at young love amidst the dreary world of low-paying white collar employment in contemporary Milan. Superbly cast and filmed.

# 892