The Life Apart

The Life Apart (Italian Film Festival)

The Life Apart (Italian Film Festival) Rating

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The Life Apart is everything aficionados of European cinema long for — poetic obscurity, powerful performances, and cinematography so lush you want to step inside the frame. Paired with a hauntingly beautiful classical score, it delivers a sensory experience that lingers long after the final credits roll.

Set against the backdrop of an elegant Italian palazzo, the film captures the glamour and quiet dysfunction of bourgeois family life. The story begins with joy: the long-awaited arrival of a baby to a seemingly perfect couple — a striking, Penélope Cruz look alike, mother and her accomplished husband, a respected doctor. The nursery is pristine, a devoted maid is ever-present, and an affectionate aunt is ready to help. Yet, this ideal world unravels the moment the baby, Rebecca, is born with a prominent birthmark on her face and neck.

From here, the narrative dives into the mother’s fragile psyche. Her descent into mental illness is portrayed with empathy and depth — torn between shielding her daughter from a cruel world and hiding her away entirely. The father’s helplessness and the strength of the mysterious aunt, who champions Rebecca’s education and introduces her to the piano, offer a poignant contrast.

 

 

As Rebecca grows, so does her resilience. She finds solace and acceptance in an unlikely friend from a very different walk of life — a spirited girl who challenges societal norms with ease. Through this friendship, Rebecca discovers self-worth and agency, even as her mother spirals further into despair.

The film does not shy away from tragedy, but it also doesn’t let grief define its ending. Instead, it gently guides the audience — and its characters — toward hope, growth, and a redefinition of beauty, love, and family.

Themes of fate, identity, societal pressure, and inner strength are woven with subtlety and sophistication. Director and cast handle emotional nuance with a light but sure touch, while the cinematography elevates every moment into painterly perfection.

A must-watch for lovers of European cinema and classical music, The Life Apart is both a heartbreaking and life-affirming journey. Let it transport you to Italy and envelop you in its rich atmosphere. This is the kind of film you carry with you, reflecting on its quiet power long after the screen fades to black.

To book tickets to The Life Apart (Italian Film Festival), please visit https://italianfilmfestival.com.au/films/iff25-the-life-apart.

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Film Review: The Boy with Pink Trousers (2025 ST. ALi Italian Film Festival)

The Boy With Pink Trousers (Italian Film Festival)

The Boy With Pink Trousers (Italian Film Festival) Rating

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Film Review: The Boy with Pink Trousers (2025 ST. ALi Italian Film Festival)

The Boy with Pink Trousers is based on the actual story of Andrea Spezzacatena, a fifteen-year-old boy from Rome who was severely cyberbullied and is loosely built on his mother’s, Teresa Manes, autobiographical novel, ‘Andrea: Oltre Il Pantalone Rosa’. The film is an engaging sensitive retelling of Andrea’s story, beautifully acted by the three young leads and is a cautionary tale in this age of social media obsession.

The film begins with Andrea recalling his birth and contemplating what would have happened in his life, shifting then to an older Andrea watching DVDs of him and his family in happy times and wondering when his parents’, Teresa (Claudia Pandolfi) and Tommaso (Corrado Fortuna), relationship began to fail. Moving then to teenaged Andrea (Samuele Carrino) practicing piano as Teresa receives a call from Andrea’s school informing her that he has won a scholarship because of his excellent academic achievement. To celebrate, they go to the funfair with Daniele (Pietro Serpi), Andrea’s younger brother.

As the story progresses, Andrea auditions for a choir that will perform for the Pope where he becomes in awe of another student Christian (Andrea Arru) also auditioning for the choir. At the start of the eighth grade Christian, who is repeating a year, and Andrea become classmates. Andrea is befriended by fellow eight grader Sara (Sara Ciocca) after Andrea deliberately gets into trouble in class. Andrea becomes friends with Christian after Christian asks him to help him with his studies but Christian distances Andrea after Andrea is chosen to perform for the Pope, but Christian isn’t.

 

 

After Andrea’s parents split, he confides in Christian who shares the contents of their discussion with the rest of the class. As Andrea and Sara move into High School, they discover that Christian, who was going to a different school, has joined their school and is in the same classes as them. Christian plots against Andrea which leads to calamitous bullying.

The Boy with Pink Trousers is director Margherita Ferri second full-length feature film and she and writer/producer, Roberto Proia, treat the subject matter delicately highlighting Andrea’s journey in the film sympathetically. Martina Cocco’s cinematography is subtle and warm, adding depth and emotion to the film. The music by Francesco Cerasi sits well with the events in the plot. The main theme is “Canta ancora” performed by Arisa which won Best Original Song at the Nastro d’Argento.

The three young leads, Samuele Carrino, Sara Ciocca and Andrea Arru, deliver excellent performances, particularly Carrino who carries most of the screen time of the film with aplomb. They are superbly assisted by Claudia Pandolfi and Corrado Fortuna.

The Boy with Pink Trousers was the highest grossing Italian movie of 2024 for good reason, it is a compassionate portrayal of a sensitive topic featuring exceptional performances by the young cast that will bring a tear to your eye.

Reviewed by Rob McKinnon

Rating; 8 out of 10
Genre: Drama
YouTube trailer: The Boy with Pink Pants trailer I PÖFF28

To book tickets to The Boy With Pink Trousers (Italian Film Festival), please visit https://italianfilmfestival.com.au/films/iff25-the-boy-with-pink-trousers.

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Number 24

Number 24 (Opening Night Gala )

Number 24 – Scandinavian Film Festival Rating

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“I have five drawers in my head. The three top drawers I open all the time. Draw number four I open less often. I closed the bottom drawer May 8th 1945, and haven’t opened it since.” So begins Number 24 (NR24), a Norwegian espionage thriller set in World War 2 that opened the Scandinavian Film Festival in Sydney.

Directed by John Andreas Anderson (Uno, North Sea), it tells the true story of Gunnar Sønsteby, a young accountant who joins the resistance movement after Norway is occupied by the Germans and becomes a national hero. Given the code-name Number 24 by British intelligence, Sønsteby risks capture, torture and execution to sabotage the German war effort, owing his success to careful planning and preparation. Soon he finds himself in charge of a resistance cell called the ‘Oslo Gang’ and wanted by the Germans.

The story is told through an episodic series of flashbacks as an older Sønsteby (Erik Hivju) gives a lecture to a group of schoolchildren. The symbolic passing of knowledge and experience from the older generation to the young is used as a reminder not to forget these stories. Torture and interrogation are shown with brutal detail to drive home not only the risks faced by the resistance, but also the sacrifices made by real people that this movie is about.

Children in the lecture confront Sønsteby with questions regarding the ethics of killing, not only Germans but fellow Norwegians, and he explains that he did what had to be done, and it’s hard to understand without having experienced war for yourself. In the current global climate of conflict across the world, it’s a poignant reminder that life and ethics are very different during war.

The wartime Sønsteby is played by Sjur Vatne Brean, giving a strong portrayal of a man who must learn to kill without prejudice in order to perform his duty. Both Brean and Hivju have a striking resemblance to each other, convincingly playing the very young and very old Sønsteby respectively. The cinematography is strong and gives a clear sense of two different periods in history, with the modern day shot like a documentary that convincingly beds in the reality of the story.

The action scenes in World War 2 are grand and explosive, with a huge scale and a great amount of detail for historical accuracy. You can tell the script was written by a historian and journalist (Espen Lauritzen von Ibenfeldt and Erland Joe) based on the biography by Petter Johannessen. Number 24 was a strong start to a great festival packed with fantastic cinema that I Highly recommend you attend.

The Scandinavian Film Festival is currently on across Australia until mid-August. Check ScandinavianFilmFestival.com for more information.

To book tickets to Number 24, please visit https://scandinavianfilmfestival.com/films/sca25-number-24.

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Second Victims (Det Andet Offer)

Second Victims - Scandinavian Film Festival

Second Victims – Scandinavian Film Festival Rating

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Scandinavia has a long and rich history of quality filmmaking, with innovative Directors such as Lars von Trier, Susanne Bier, Thomas Vinterberg, and Ingmar Bergman that have challenged and influenced world cinema. Nordic films such as Lamb, The Seventh Seal, Let the Right One In, Festin, and The Hunt, have exposed us to a culture and landscape that is rich with powerful stories.

In this tradition, the 2025 Scandinavian Film Festival gives us Second Victims (Det andet offer), a harrowing, thought-provoking film from Denmark written and directed by Zinnini Elkington. Alex (Özlem Saglanmak) is experienced neurologist starting another routine day in an understaffed hospital. In the changeroom she gives hollow encouragement to Emilie (Mathilde Arcel F.), a nervous new intern facing her first day as a doctor without supervision. As the day starts, Elkington masterfully employs the often-overused technique of a long, single shot as we follow Alex through a routine morning. She volunteers to take over extra duties due to staff shortages, then moves confidently through the hospital deftly attending to a variety of patients, making quick observations and decisions before moving on to the next. One of these fateful decisions, seemingly innocuous at the time, triggers a sequence of high-stake events that will challenge Alex in ways that she never expected.

 

 

Medical staff face the burden of life and death decisions every day, but the emotional toll is rarely understood or explored, especially when doubt creeps in about a possible mistake or missed diagnosis. Second victims explores the emotional devastation a critical decision that’s made under pressure can have on an experienced doctor. The allocation of blame, the legal repercussions, the doubting and guilt and fear. Just like Alex, I had trouble recounting exactly what happened in that short but critical moment when she assessed an eighteen-year-old man with a simple headache, sharing her confusion about who was really to blame for not realising the seriousness of his condition. Did the nervous, unsure young doctor Emilie give Alex, the confident veteran, the right information? She says she did. But did she really?

Alex not only has to wrestle with the possibility she made a fateful mistake; she also has to face the emotional impact this has on the patient’s terrified (divorced) parents. These characters help to humanise the stakes. ‘What happens if he dies,’ an emotional mother (Trine Dyrholm) asks the hospital priest (Kristian Halken) as she contemplates the fate of her son, who has fallen into a coma with a brain haemorrhage, ‘he’s all I’ve got.’ ‘You love him,’ the priest replies, ‘and don’t stop loving him. Love is more powerful than death.’

The moral ambiguity and rising tensions were absolutely gripping, the story moving along at an exhausting pace, building an intense emotional pressure like an overcharged battery about to explode. Second Victims is a compelling insight into the stress and pressure of staff making life or death decisions and the people who depend on them. As an experienced Surgeon explains to Alex when she loses all confidence and seeks his advice, it’s a fight they don’t always win: ‘Every Doctor has a graveyard.’

The Hurtigruten Scandinavian Film Festival is packed with a superb lineup of films, screening in multiple locations across the country until the 14th of August. Check out their website at https://scandinavianfilmfestival.com/ for sessions and dates in your city.

To book tickets to Second Victims – Scandinavian Film Festival, please visit https://scandinavianfilmfestival.com/films/sca25-second-victims.

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