Venice 2024 (Competition): Vermiglio (by Maura Delpero) | Review
While the world is torn apart by war and conflict, in an Italian village hidden from the global storms, life goes on at its unchanging pace. Against the backdrop of martial law and the hardships that come with it, the story of a family torn apart by both war and internal conflict unfolds, where shadows of the past intersect with hopes for the future.
Maura Delpero’s Vermiglio, which debuted at the 81st Venice Film Festival in competition, immerses the viewer in the harsh reality of World War II, specifically the last year of 1944. The picture unfolds in an Italian village, where the hardships of war are reflected in the everyday life of women and children left without a man’s shoulder. Delpero, who directed Maternal (Locarno Film Festival, 2019), masterfully conveys this feeling of hopelessness and oppression, which literally overwhelms the characters, making the viewer feel the same gravity and tension they feel.
From the very beginning, the film is captivating in its visual style: the gray-blue palette sets a somber tone and reinforces the sense of inevitability. This cold palette reflects not only the harshness of the surrounding nature, but also the inner states of the characters. The majestic mountains shrouded in snow seem both protective and overwhelming, creating a sense that the characters are trapped, both physically and emotionally. Nature here is not just a backdrop, but becomes a full-fledged character, a metaphor for the confinement and isolation in which the characters live.
The events unfold around a family with many children, which is under the strict control of its head, a village teacher Caesar (Tommaso Rango). The patriarch, who has “temporarily” taken over the leading role in the family, despite his outward benevolence, holds the family in an iron grip, determining their fates and suppressing their individuality. Delpero skillfully creates an atmosphere of authoritarianism and suppression, where each member of the family is forced to live by the rules, without the right to personal desires and freedom. Scrupulously constructed scenes of everyday life reveal to the viewer the routine life, behind which deep inner conflicts are hidden.
Vermiglio presents the three daughters of a teacher: Lucia, Ada and Livia, each of whom follows a different path to adulthood. Lucia (Martina Scrinzi), the eldest, finds solace in a secret relationship with a Sicilian deserter, Pietro (Giuseppe De Domenico), who takes refuge in a barn, but her hopes for the future are dashed when she learns of his hidden past. Ada, the middle sister, struggles with inner contradictions and feelings of guilt, punishing herself for her secret desires. Livia, the youngest, is just beginning to understand the complexities of adulthood, not yet realizing how deeply war and family secrets have penetrated their daily lives.
However, despite its powerful emotional accents and profound themes, the film feels stretched at times. Delpero pays great attention to the creation of atmosphere, which on the one hand helps to immerse you in the world of the characters, but on the other hand weakens the dramatic tension, making the plot less dynamic. Nevertheless, Vermiglio impresses with its honesty and unprecedented portrayal of life in an age of adversity. This movie, with its attention to every detail, is thought-provoking and leaves a lasting impression, even if at times the form outweighs the content.
The film’s finale leaves the viewer facing the inevitability of human destiny and the inextricable link between personal tragedies and global events. In Vermiglio, war is not on the screen, but its shadow pervades every scene, showing how it overshadows and destroys human lives.
Explore our exclusive coverage of the 81st Venice International Film Festival here.
