Maria Montessori Film Review

Maria Montessori

Maria Montessori Rating

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3

Léa Todorov’s directorial debut feature film ‘Maria Montessori’ offers a biopic of the Italian doctor’s journey in revolutionising children’s pedagogy. Maria Montessori transformed societies positioning of children with disabilities, medical conditions, &/or neurodivergence in education, and women in the workforce.

Set at the turn of the 20th century, the film begins in Paris where the esteemed French courtesan Lili d’Alengy (Leïla Bekhti) is confronted by the return of her estranged daughter Tina (Rafaëlle Sonneville-Caby) into her custody.

Lili is ashamed of the disabilities Tina possesses and frightened she will ruin her social standing so she flees to Rome. There she attempts to admit Tina as a boarder to a pedagogical institute that takes in ‘idiot children’ (as they were then referred to). Maria Montessori (Jasmine Trinca) and Guiseppe Montesano (Raffaele Esposito) manage the facility.

Maria accepts Tina into the program, but is unable to offer accommodation, much to Lili’s dismay she must stay based in Rome until a bed becomes available for Tina. Tina makes great academic and locomotive progress at the school, under the caring support and guidance of Maria.

Lili begins to soften her boundaries; a significant turning point of which, is when she plays the piano at the school, and the children delightedly dance along to the music. The music acts as a bridge, that reframes Lili’s perspective of the children’s mental and emotional capabilities, furthermore uniting her with Maria. Maria was initially judgemental of Lili’s abandonment and disavowal of motherhood to Tina, as Lili becomes more involved the two women forge a friendship.

We learn that Maria and Guiseppe are in secret romantic partnership and have a son together, who lives in the care of another woman in the countryside. Maria longs to live with her son Mario (also with disabilities), but she wishes to maintain her autonomy and without marrying Guiseppe he will not claim the child as his own, so the couple are limited to weekend visits to see him. Maria and Lili’s lives’ parallel each other, despite their significant differences.

Both have been estranged mothers in the pursuit of their independence. Lili is shocked to learn Maria doesn’t get paid for her work at the institute and helps Maria pave a path forward to achieve recognition for her pedagogical approach and the ability to grow and transmit the Montessori method.

 

The film offers fantastic subtext on the societal framing and transmission of shame, particularly as it effects nonhomogeneous groups. The casting is fantastic. The youth cast have real life physical and cognitive disabilities. It’s impactful to see the positive representation of people with disabilities being empowered not just through the story’s messaging, but also in its delivery. Rafaëlle Sonneville-Caby’s acting and depiction of her character Tina’s journey is incredibly moving.

Tina has a strong appetite and inclination towards learning. Seemingly non-verbal but with expressive emotional intelligence, receiving praise and love ignite her spark and inner determination. Rafaëlle illuminates Tina’s personality with beautiful authenticity. Several of her scenes were so affecting and poignant I found my emotional-physiological response resounding in fierce protection of her character. The story is one of sisterhood between Maria and Lili, and motherhood of each with their children, moreover motherhood as an approach to education.

Quotations such as “The new pedagogy must acknowledge the sublime art of motherhood” and “An education of love” speak to this and are expanded upon where Maria advocates for women to contribute to the workforce “Motherhood will then become a social model.” I think this idea is powerful and gaining traction in society today, for all it can offer – not just to women, but to everyone.

The story is both inspiring, and a heartbreaking rendering of the complex decisions women were required to make in this time and context. An important cinematic offering from Léa Todorov.

To book tickets to this or other films, click https://italianfilmfestival.com.au/

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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The Beautiful Summer

The Beautiful Summer

The Beautiful Summer Rating

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1

Adapted from Cesare Pavese’s 1949 novel, ‘The Beautiful Summer’ written and directed by Laura Luchetti offers an evocative portrayal of self-discovery, longing, and sensual awakening. Set in 1938 preceding World War II in Turin, Italy. This coming-of-age story follows Ginia (Yile Yara Vianello), a young seamstress living with her brother Severino (Nicolas Maupas) in a modest apartment.

Ginia and Severino are relaxing at the lakeside with friends when Amelia (Deva Cassel) recognising one of them, swims over to join the group. Ginia is instantly allured by Amelia’s beauty and confidence, and both are curious of the other. Amelia is a nude model for painters. Severino is openly disdainful of Amelia’s choice of occupation, whereas Ginia finds herself intrigued by it.

Early in the film Amelia offers Ginia to watch her be painted, Ginia shyly declines and instead peers through the glass outside. Amelia introduces Ginia to a bohemian world that ignites her imagination. Ginia has her first romantic experience with the painter Guido (Alessandro Piavani) and finds herself curious to model also. The line “I want someone to look at me and show me who I am” reflects Ginia’s journey of self-exploration; as well as a kind of consenting voyeurism and exhibitionism, as a form of communication. Seeing and being seen. Underlying a foundational question- “Who’s vision do we wish to be cast by?”

The film is an emotive tapestry exploring jealousy, control, love, loss, desire, and practicality, with complexity. Yile Yara Vianello offers authenticity to the twists and turns of her characters journey, where polarity emerges at a middle pathway that is both authentic and refreshing.

 

Diego Romero’s cinematography is exquisite in its rendering of Turin’s architecture, landscape, and the casts interplay among them. The subtle shake of the camera in certain shots, and the focus on physical actions contribute to the film’s intimacy and tactile quality. The transition from summer to autumn is conveyed in its fleeting glory, echoing the themes of love and loss.

Autumnal hues are accented by colourist Andrea Baracca, and harmonious choices amongst the art, costume, and make-up departments offer stylistic cohesion that enriches the story. The chemistry between Yile Yara Vianello and Deva Cassel is tantalising. There is a tenderness between their characters, and it’s as if they are both holding a delicate secret together. The pensive piano scores composed by Francesco Cerasi mirror Ginia’s inner landscape, as she navigates her feelings, and choices.

If you like your storylines packaged and labelled neatly, I do not recommend this film. However, if you are like me and enjoy a storyline that feels more like a dance than a march, you will be captivated by the world Luchetti has created.

To book tickets to this or other films, click https://italianfilmfestival.com.au/films/iff24-the-beautiful-summer

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Bleak Expectations: Presented by Limelight Theatre

Bleak Expectations

Bleak Expectations Rating

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3

Adapted from a series of BBC radio plays, ‘Bleak Expectations’ puts a fun twist on Charles Dickens’s classic tale. It is well-staged and performed by the team at Limelight Theatre.

Narrated by a grown-up Pip Bin, we look back on his coming of age as a young man in a life full of twists, turns, and slapstick English humour.

Gordon Park guides our story as the older Pip, with a commanding stage presence that fills the stage. Jack Riches, who brings a refreshing, happy-go-lucky nature to the central role, portrays his younger counterpart with naivety.

Natalie Wiles and Mary Del Casale round out the trio of Bin children as Pip’s sisters, the strong-willed, ambitious Pippa and spritely Poppy. Del Casale particularly shines as the cheeky youngest sister and later brings humour to the pining Ripley.

Peter Giles and Shayla Brown complete the family as mum and dad, with Brown to be commended for embracing her character’s rather bizarre arc with full force.

Tomas Kinshela is a stand-out as best friend Harry Biscuit, who brings a certain candidness to the character that is a pleasure to watch. Some of his finer moments play out when he is not the focus of a scene, with excellent nuisances and mannerisms if you’re lucky to catch them.

 

Also a highlight is Jason Pearce, who is comedic gold in his smorgasbord of roles—the Act 2 courtroom scene is a particularly memorable moment.

And what is a show without its villain – Mr Benevolent – which Gareth Bishop brings great life to. Across the board, the cast is to be commended for the high energy on-stage from start to finish.

The set for this production is rather impressive. The design team—led by Roger Oakes—created a single multi-level piece that largely serves as the family home and is used well throughout, with simple added dressings to help establish different locations.

Bold and colourful costumes from Julie Clark also help to transport us back to the 1800s.

All in all, this comedy is exactly that—a laugh-a-minute show that serves as a great escape from reality for an evening. Director Barry Lefort has put together a solid production lifted by a cast that looks like they are having an absolute ball on stage.

For Bookings, phone TAZ Tix at 9255 3336 or book online @ https://www.taztix.com.au/limelight/

Venue: Limelight Theatre
Civic Drive, Wanneroo

Performance Dates: September 12, 13, 14, 19, 20, 21, 22*, 26, 27, 28

Times: Evenings at 7.30pm, *Matinees at 2pm

Tickets: $27 Adult, $22 Concession (seniors/students),
$20 Member, Groups 20+ $22 each
processing fees apply

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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The Guy Who Didn’t Like Musicals

The Guy Who Didn't Like Musicals

The Guy Who Didn’t Like Musicals Rating

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3

Picture this: a meteor has crashed and landed in your peaceful town, and a horrible illness is slowly infecting the townsfolk, causing them to face one of life’s greatest horrors – singing and dancing as if they were in a musical.

This is the basis of StarKid Productions’ ‘The Guy Who Didn’t Like Musicals’ – brought to life for the very first time in Western Australia by Art In Motion Theatre Company.

Joshua Hollander is the titular ‘Guy’ – also known as Paul Matthews – with the remaining cast work to bring to life a sea of characters as he navigates this world-ending disaster. By his side is the equally normal Emma Perkins, portrayed by Escher Roe. The pair work well as the show ‘simpletons’ in contrast to the other more exuberant characters.

Among the other ever-changing roles, Brittany Isaia shines as Paul’s co-worker Charlotte in a hilarious performance. A WA Starkid veteran, she has certainly found her niche. She’s coupled well against Blair Price-Morgan as Ted, a great young talent whom I look forward to seeing more of in the future.

Attempting to cure the mysterious disease is Artorius Emanuel as Professor Hidgens, whose ‘show-stopping number’ was a crowd favorite.

 

Clayton van Dijk brings nervous energy to Bill Woodward, with Georgia McGivern rounding out the group in a number of smaller roles and bringing great energy to the stage.

A personal highlight was Mathew Leak’s performance as both Mr Davidson and Sam Sweetly. Not only was his vocal performance strong, but Leak’s pure enthusiasm and joy simply radiated from the stage, and I couldn’t help but smile whenever he entered a scene.

On the note of enthusiasm, the amount of passion in the room—both on stage and in the audience—was really special. It’s no secret that StarKid has a cult following, and it was duly noted how captivated audience members were to finally see this show in person for the first time locally.

Also to be commended is the band, who are note perfect under the guidance of Zac Skelton. Extremely well executed they seamlessly fit in with the show so smoothly they almost go unnoticed. The music is partnered with trade-mark theater choreography, from Keri Baker, and performed with an appropriate level of cheesiness.

While diction and pacing in some areas could be improved – this production makes for a fun night out whether you’re a serial fan or a first-time viewer. Director Micheal Carroll has delivered a solid show that was clearly well-received by audiences.

With only 3 shows remaining in the season, you best book your tickets quickly @ https://drpac.sales.ticketsearch.com/sales/salesevent/135674

Remaining Sessions:-

  • 13th Sep – 7:30 pm
  • 14th Sep – 7:30 pm
  • 15th Sep – 2 pm

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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