In places where opportunities and hope are harder to obtain than a loaded gun, the glorification of a seemingly effortless and powerful criminal lifestyle is engraved deeply into the youth’s psyche like a poisonous spell. Irremediably, it becomes their most tangible aspiration. Kids there do not dream of becoming doctors, lawyers or teachers, but drug dealers, murderers, or gangsters who walk through life intoxicated by the fear of others disguised as respect. It’s just the same in a rough American neighborhood, a Mexican border town, a war torn African capital, or an isolated village in the Italian countryside.
Is in this last setting that director Francesco Munzi unfolds “Black Souls” (Anime Nere), an understated mafia tale that is brutally unflinching and sobering when distilling the built-in conventions of the genre and reapplying them in a powerfully stark manner. First, Munzi takes us on a short trip to the high-stakes world of international drug trafficking and the money laundering schemes that fueled it. Brothers Luigi (Marco Leonardi) and Rocco (Peppino Mazzotta) manage the operation as a family business each with a distinct approach to getting things done. Luigi is the threatening brute that’s willing to get his hands dirty, while Rocco prefers to be as diplomatic as the drug underworld allows. But just as we are prompted to believe the film will follow on the footsteps of countless predecessors, the perspective shifts to a much more intimate, almost pastoral, look at the unbreakable ties and honor-driven feuds between opposite families within the same criminal microcosm: the Calabrian hills in southern Italy.
Making a humble living from farming and raising cattle, Luciano (Fabrizio Ferracane), the eldest sibling in the dynasty, disapproves of his younger brothers lifestyle, which he left behind years ago. But in spite of his father’s evident disdain for his siblings’ violent ways, Luciano’s son Leo (Giuseppe Fumo), a teenage boy full of senseless bravado and thirst for retribution, admires his uncle Luigi ‘s status as an authority figure within the community. Projecting fearlessness and absolute dispassion to be part of the gang, Leo grows detached from his father and begins partaking in the increasingly dangerous disputes with their adversaries. With Luigi back in town, old grudges resurfacing, and Leo’s reckless ability to start trouble, tragedy permanently lurks over the entire clan.
This perpetual feeling of an imminent disaster approaching is what makes the film a restrained and potent statement. Intelligently, the filmmaker chooses unnerving tension over gruesome imagery. Of course, violence is unavoidable in a story like this, but those scenes are much more effective because of their importance in the layered emotional landscape presented. Pride is a boundless catalyst for hatred, and that’s what motivates the individuals here to die in the name of their lineage. Leo loses respect for his father because the promise of easy cash and overall badassery is exponentially more enticing than arduously working the land. Luciano is a coward in his son’s eyes for wanting to live a peaceful life, but the man can hardly experience that as he is caught up in between his brothers’ unfinished business and preventing Leo from following their path. It’s all the subtext that is embedded in every interaction that keeps “Black Souls” from becoming predictable, and instead asks us to ponder on the complex set of characters on screen.
Hauntingly somber, but all the more enthralling because of it, Vladan Radovic’s cinematography inconspicuously contributes to Munzi’s exploration of human darkness. A prime example of its gloomy appeal is a funeral sequence that centers both on a mother grieving her son, and the inevitably brutal consequences of the event. However, although a viscerally serious tone permeates the film, Munzi and Radovic were clever enough to capture beautiful moments of rural life that give “Black Souls” a timeless atmosphere: Luigi singing a traditional tune for the sheer joy of singing or Luciano walking among the ruins of an ancient church quietly denoting his religious devotion. Such glimpses of vulnerability create a mob film that is more concerned with the subtleties beneath the gunshots.
Indispensable for an ensemble piece like “Black Souls,” the entire cast, even those in minimal roles, is made up of a group of actors capable of refraining from ostentatious performances and focusing on the characters’ essential, nuanced qualities. Their conflicts are so profoundly intertwined that a weak link would have been problematic. Still, among these talented group, Fabrizio Ferracane as Luciano gives the most quietly compelling performance as a father, a brother, and a son who can’t recognize himself anymore or fit in among those around him. Ultimately, Ferracane steals the film in the riveting and shocking conclusion.
“Black Souls” delivers a gutsy twist on the tiresome works that showcase villains as stars and their feats as heroic. Munzi offers authenticity and poignancy ignoring our expectations and portraying his characters as deeply misguided people for whom loyalty is a golden asset and death is a common outcome. His film is about unspoken rules and unforgivable transgressions that might appear irrational to the outsider, but unquestionable to those involved.
"Black Souls" is now playing in NYC and opens in Los Angeles on April 24th.
Director Francesco Munzi will be doing a Skype Q&A from Rome, Italy on Saturday 4/18 at both the Angelika Film Center in NYC (after the 7:30 pm show) & at the Angelika Film Center in Fairfax, Va (after the 8pm show).
For all the play dates and theaters across the U.S. visit Here...
Is in this last setting that director Francesco Munzi unfolds “Black Souls” (Anime Nere), an understated mafia tale that is brutally unflinching and sobering when distilling the built-in conventions of the genre and reapplying them in a powerfully stark manner. First, Munzi takes us on a short trip to the high-stakes world of international drug trafficking and the money laundering schemes that fueled it. Brothers Luigi (Marco Leonardi) and Rocco (Peppino Mazzotta) manage the operation as a family business each with a distinct approach to getting things done. Luigi is the threatening brute that’s willing to get his hands dirty, while Rocco prefers to be as diplomatic as the drug underworld allows. But just as we are prompted to believe the film will follow on the footsteps of countless predecessors, the perspective shifts to a much more intimate, almost pastoral, look at the unbreakable ties and honor-driven feuds between opposite families within the same criminal microcosm: the Calabrian hills in southern Italy.
Making a humble living from farming and raising cattle, Luciano (Fabrizio Ferracane), the eldest sibling in the dynasty, disapproves of his younger brothers lifestyle, which he left behind years ago. But in spite of his father’s evident disdain for his siblings’ violent ways, Luciano’s son Leo (Giuseppe Fumo), a teenage boy full of senseless bravado and thirst for retribution, admires his uncle Luigi ‘s status as an authority figure within the community. Projecting fearlessness and absolute dispassion to be part of the gang, Leo grows detached from his father and begins partaking in the increasingly dangerous disputes with their adversaries. With Luigi back in town, old grudges resurfacing, and Leo’s reckless ability to start trouble, tragedy permanently lurks over the entire clan.
This perpetual feeling of an imminent disaster approaching is what makes the film a restrained and potent statement. Intelligently, the filmmaker chooses unnerving tension over gruesome imagery. Of course, violence is unavoidable in a story like this, but those scenes are much more effective because of their importance in the layered emotional landscape presented. Pride is a boundless catalyst for hatred, and that’s what motivates the individuals here to die in the name of their lineage. Leo loses respect for his father because the promise of easy cash and overall badassery is exponentially more enticing than arduously working the land. Luciano is a coward in his son’s eyes for wanting to live a peaceful life, but the man can hardly experience that as he is caught up in between his brothers’ unfinished business and preventing Leo from following their path. It’s all the subtext that is embedded in every interaction that keeps “Black Souls” from becoming predictable, and instead asks us to ponder on the complex set of characters on screen.
Hauntingly somber, but all the more enthralling because of it, Vladan Radovic’s cinematography inconspicuously contributes to Munzi’s exploration of human darkness. A prime example of its gloomy appeal is a funeral sequence that centers both on a mother grieving her son, and the inevitably brutal consequences of the event. However, although a viscerally serious tone permeates the film, Munzi and Radovic were clever enough to capture beautiful moments of rural life that give “Black Souls” a timeless atmosphere: Luigi singing a traditional tune for the sheer joy of singing or Luciano walking among the ruins of an ancient church quietly denoting his religious devotion. Such glimpses of vulnerability create a mob film that is more concerned with the subtleties beneath the gunshots.
Indispensable for an ensemble piece like “Black Souls,” the entire cast, even those in minimal roles, is made up of a group of actors capable of refraining from ostentatious performances and focusing on the characters’ essential, nuanced qualities. Their conflicts are so profoundly intertwined that a weak link would have been problematic. Still, among these talented group, Fabrizio Ferracane as Luciano gives the most quietly compelling performance as a father, a brother, and a son who can’t recognize himself anymore or fit in among those around him. Ultimately, Ferracane steals the film in the riveting and shocking conclusion.
“Black Souls” delivers a gutsy twist on the tiresome works that showcase villains as stars and their feats as heroic. Munzi offers authenticity and poignancy ignoring our expectations and portraying his characters as deeply misguided people for whom loyalty is a golden asset and death is a common outcome. His film is about unspoken rules and unforgivable transgressions that might appear irrational to the outsider, but unquestionable to those involved.
"Black Souls" is now playing in NYC and opens in Los Angeles on April 24th.
Director Francesco Munzi will be doing a Skype Q&A from Rome, Italy on Saturday 4/18 at both the Angelika Film Center in NYC (after the 7:30 pm show) & at the Angelika Film Center in Fairfax, Va (after the 8pm show).
For all the play dates and theaters across the U.S. visit Here...
- 4/15/2015
- by Carlos Aguilar
- Sydney's Buzz
In his review of Vitagraph Films’ Black Souls (Anime Nere), Travis Keune wrote the movie is, “a richly deep story about an unconventional “family business” that conjures up the essence of The Godfather but distances itself even further from the genre stereotypes than just about any film we’ve seen in recent years.”
Read the rest of the review here and check out the brand new clip.
Based on real events described in Gioacchino Criaco’s novel, Black Souls (Anime Nere) is a tale of violence begetting violence and complex morality inherited by each generation in rural, ancient Calabria, a reallife mafia (‘Ndrangheta) seat in Southern Italy.
The Carbone family consists of three brothers, Luigi (Marco Leonardi) and Rocco (Peppino Mazzotta) who are engaged in the family business of international drug trade and Luciano (Fabrizio Ferracane) who has remained in the ancestral town of Africo in the Aspromonte mountains on the Mediterranean coast – herding goats.
Read the rest of the review here and check out the brand new clip.
Based on real events described in Gioacchino Criaco’s novel, Black Souls (Anime Nere) is a tale of violence begetting violence and complex morality inherited by each generation in rural, ancient Calabria, a reallife mafia (‘Ndrangheta) seat in Southern Italy.
The Carbone family consists of three brothers, Luigi (Marco Leonardi) and Rocco (Peppino Mazzotta) who are engaged in the family business of international drug trade and Luciano (Fabrizio Ferracane) who has remained in the ancestral town of Africo in the Aspromonte mountains on the Mediterranean coast – herding goats.
- 4/10/2015
- by Movie Geeks
- WeAreMovieGeeks.com
Crime and families (and crime families) have been a part of international cinema for years with movies as diverse as The Godfather, Animal Kingdom and The Raid all touching on the subject to varying degrees. Two new far lower profile films head into theaters this week, and while neither reach the heights of the ones just mentioned they’re both worthy additions to the sub-genre as they explore the deadly ramifications of mixing blood relatives with bloodletting. You can pick your friends, but it turns out you can’t pick your crime family. ————————————————- Three adult men, brothers, have moved on from the grief over their father’s murder to focus on what makes them happy. Rocco (Peppino Mazzotta) is a businessman, at least on the outside, who runs a drug and crime empire from his snazzy Milan apartment while Luigi (Marco Leonardi) participates with a far more hands-on approach. The...
- 4/10/2015
- by Rob Hunter
- FilmSchoolRejects.com
Like many genre films, the category of mafia films is often branded with certain expectations. Granted, not all of these films are created equal, but we generally expect to see lots of violence and/or lots of foul language and Hollywood stereotypes. Where Black Souls succeeds is in refusing such stereotypes and telling a richly deep story about an unconventional “family business” that conjures up the essence of The Godfather but distances itself even further from the genre stereotypes than just about any film we’ve seen in recent years.
Director Francesco Munzi’s Black Souls (“Anime nere” in Italian) maintains a nearly unprecedented level of dignity for its type. The film tells the story of three brothers closely connected to N’drangheta, a mafia-like criminal organization based out of Calabria. These three brothers, sons of a shepherd, have differing views on their relationships with N’drangheta, which plays a...
Director Francesco Munzi’s Black Souls (“Anime nere” in Italian) maintains a nearly unprecedented level of dignity for its type. The film tells the story of three brothers closely connected to N’drangheta, a mafia-like criminal organization based out of Calabria. These three brothers, sons of a shepherd, have differing views on their relationships with N’drangheta, which plays a...
- 4/9/2015
- by Travis Keune
- WeAreMovieGeeks.com
“You’re dressed like a shepherd!” Driving around Milan, middle-aged Luigi Carbone (an unrecognizable Marco Leonardi, of Like Water for Chocolate fame) affectionately disparages his 20-year-old nephew, Leo (Giuseppe Fumo), before planting him in a job in his own industry. The only child has fled a Calabrian farm and the father who runs it, Luciano (Fabrizio Ferracane, master of fluctuating facial tics), who is Luigi’s oldest brother. Leo hopes for an exciting and lucrative life better tailored to his needs than herding: working with Luigi, his idol, Uncle Rocco (Peppino Mazzotta), and their childhood pal and staunch ally, Nicola (Stefano Priolo). […]...
- 4/9/2015
- by Howard Feinstein
- Filmmaker Magazine-Director Interviews
“You’re dressed like a shepherd!” Driving around Milan, middle-aged Luigi Carbone (an unrecognizable Marco Leonardi, of Like Water for Chocolate fame) affectionately disparages his 20-year-old nephew, Leo (Giuseppe Fumo), before planting him in a job in his own industry. The only child has fled a Calabrian farm and the father who runs it, Luciano (Fabrizio Ferracane, master of fluctuating facial tics), who is Luigi’s oldest brother. Leo hopes for an exciting and lucrative life better tailored to his needs than herding: working with Luigi, his idol, Uncle Rocco (Peppino Mazzotta), and their childhood pal and staunch ally, Nicola (Stefano Priolo). […]...
- 4/9/2015
- by Howard Feinstein
- Filmmaker Magazine - Blog
Now I Lay Me Down to Kill: Munzi’s Enjoyably Reserved Mafia Film
Premiering last fall at the 2014 Venice Film Festival, where it picked up a handful of prizes, Francesco Munzi’s third film, Black Souls, is a deliberately paced examination of familiar mafia standards. Based on a novel by Giacchino Criaco, it’s bound to be compared (and perhaps exist within the shadow of) Matteo Garrone’s highly celebrated 2008 feature, Gomorrah. But Munzi’s film is equally convincing, lending an austere sense of realism to what otherwise plays like a classic theatrical tragedy of three brothers at odds, locked in opposition and contention with the heavy baggage of their lineage. Light on dialogue and heavy on brooding characters marinating in their own mistrust or disdain of one another, it’s a successfully engaging film, but despite an enjoyably dire finale, isn’t as memorable as some modern comparative material.
Premiering last fall at the 2014 Venice Film Festival, where it picked up a handful of prizes, Francesco Munzi’s third film, Black Souls, is a deliberately paced examination of familiar mafia standards. Based on a novel by Giacchino Criaco, it’s bound to be compared (and perhaps exist within the shadow of) Matteo Garrone’s highly celebrated 2008 feature, Gomorrah. But Munzi’s film is equally convincing, lending an austere sense of realism to what otherwise plays like a classic theatrical tragedy of three brothers at odds, locked in opposition and contention with the heavy baggage of their lineage. Light on dialogue and heavy on brooding characters marinating in their own mistrust or disdain of one another, it’s a successfully engaging film, but despite an enjoyably dire finale, isn’t as memorable as some modern comparative material.
- 4/9/2015
- by Nicholas Bell
- IONCINEMA.com
"Goodfellas" turns 25-years-old in 2015, but mob life continues to inspire even more movies. "Black Souls" is another tale of the underworld, and today we have an exclusive clip the award-winning movie where it seems every move is a dangerous one. Directed by Francesco Munzi, and starring Marco Leonardi, Peppino Mazzotta, Fabrizio Ferracane, Barbora Bobulova, Anna Ferruzo, and Giuseppe Fumo, the film is based on real events and follows the three Carbone brothers, Luigi and Rocco, who are engaged in the family business of the international drug trade, and Luciano, who has remained behind herding goats in their ancestral town of Africo in the remote Aspromonte mountains on the Ionic coast. When Luciano’s 20-year-old son Leo shoots up a local bar owned by a rival family, his reckless actions reignite a longstanding blood feud and set off a tragic chain of events that violently grinds toward an inevitable bloody showdown for all involved.
- 4/2/2015
- by Kevin Jagernauth
- The Playlist
After the huge international success of the film Gomorrah in 2008 followed by its acclaimed recent TV adaptation, Francesco Munzi’s Anime Nere has a tough act to follow. While there are no end of films depicting the mafia, and Gomorrah shows life in Naples’ camorra underworld, this time it’s the turn of the Calabrian ’ndrangheta.
The opening scene is a chilly and grey waterfront in Holland before travelling south to Milan, then all the way down to the tiny mountainside village of Aspromonte, yet as it reaches the Mediterranean the film never manages to shake off those downcast and icy tones. Outside, from north to south it’s dark, grey and gritty.
Luigi (Marco Leonardi) is in Holland to close a drugs deal, then it’s off to Milan for celebrations with his brother, the solid and steady Rocco (Peppino Mazzotta). But there’s another brother, Luciano (Fabrizio Ferracane), ensconced down south,...
The opening scene is a chilly and grey waterfront in Holland before travelling south to Milan, then all the way down to the tiny mountainside village of Aspromonte, yet as it reaches the Mediterranean the film never manages to shake off those downcast and icy tones. Outside, from north to south it’s dark, grey and gritty.
Luigi (Marco Leonardi) is in Holland to close a drugs deal, then it’s off to Milan for celebrations with his brother, the solid and steady Rocco (Peppino Mazzotta). But there’s another brother, Luciano (Fabrizio Ferracane), ensconced down south,...
- 8/29/2014
- by Jo-Ann Titmarsh
- HeyUGuys.co.uk
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