Over a hundred years ago, poverty was terrible in the mountain region of northwest Italy. Unable to feed everyone, many families were forced to rent their children to the peasants of the plains.

Some unlucky children were being picked up by men who sold them to shepherds in the French mountains. The Story of Cino – The Child Who Crossed the Mountain tells the story of one such child – Cino.

The movie feels like a fairytale throughout its duration, largely thanks to the beautiful cinematography featuring stunning panoramas of sublime mountain scenes shot in vibrant live colors.

Both the screenwriter and the director of the film (father and son) have significant experience in documentary productions, which enhances the portrayal of nature in the movie.

As far as the story goes – it is told from a child’s perspective and, while it can interest older viewers, some may have to cut it some slack as it is clearly aimed at younger audiences.

Naturally, the Coming-of-Age motifs are present, especially if one attaches a symbolic meaning to the young Cino’s journey through the mountains. Unfortunately, the narrative is not without imperfection. More often than not it is way too gullible and predictable for one to get involved with the story. There is a surprising plot twist in the final scenes, but it feels too little, too late to salvage the story’s appeal.

The cast is comprised predominately of amateurs. The characters are clichéd though the kids in the main roles – Stefano Marseglia as Cino and Francesca Zara as the little girl Catlin that he befriends are charismatic enough and shot in the correct manner as to contribute to the already beautiful nature scenes in their own manner.

Supported by Unicef ​​for “the delicacy with which it addresses the issue of child labor,” The Story of Cino – The Child Who Crossed the Mountain is an easygoing, family-friendly movie  — beautiful to look at, while not memorable.

Trailer

[imdb]http://www.imdb.com/title/tt3100482/reference[/imdb]

The Story of Cino – The Child Who Crossed the Mountain (2013)

In short

An easygoing, family-friendly movie  featuring beautiful panoramic scenery.

2.8

Our Rating

A perplexing portrayal of juvenile delinquency intertwined with grief and trauma,  Orphans and Kingdoms offers a unique take on the fragility of the human soul.

Its main protagonists are three foster kids: Kenae (Calae Hignett-Morgan), Tibs (Hanelle Harris) and Jesse (Jesse James Rehu Pickery) who make ends meet by stealing and doing other petty crimes.

When they find themselves on Waiheke Island (off the shore of Auckland, New Zealand) the kids decide to break into one of the fancy villas overlooking the bay. When they succeed in sneaking into a seemingly vacant mansion, awed by property’s premises they have the time of their lives living the “millionaire style“.

Exhausted from all the fun, the kids almost miss the return of the property’s owner – an event that results in a disastrous clash turning everyone’s life upside-down.

The film doesn’t manage to grab one’s attention at the beginning, as the character development occurs at a rather slow pace. Initially, it appears as if the goal of the narrative is to express disapproval of the behaviour of the kids. When they break into the house, the theme of social injustice gets introduced. What gives the right to some people to indulge in luxury while many others can’t make ends meet? It’s a rhetorical question, yet especially valid for someone like me living in an island abundant with luxury villas and vacation homes.

Gradually more information about the characters is revealed, and we learn more about the kids and the house owner who turns out to be suffering emotionally as a result of the suicide of his son who was of age not much different than that of the kids who have broken into his house. The trauma rationalizes behaviours that under other circumstances would appear as abnormal.

The story of Orphans and Kingdoms is an original one yet, at the same time, perplexing and similar to some Scandinavian art house flicks. It takes some reflection, after the final credits roll, for the viewer to fully realize the nature of the narrative’s message.

The settings are somewhat limited and that gives the film an atmosphere of a play at times. Additionally, while the characters speak English, they do so in a Kiwi accent that takes a while to get used to. The Coming-of-Age motifs are present and change is one of the essential themes of the narrative.

Orphans & Kingdoms Trailer

When it comes to acting, the performances are good overall for the entire cast, but especially that of Calae Hignett-Morgan. He impresses me most probably because of the rich nuances and volatility of his character’s personality. His strong performance is reason enough to watch the film even if you are not fond of such dramas per-se.

I recommend Orphans and Kingdoms, but believe it’s necessary for people to devote some time after viewing it to think about its message (I actually started to better appreciate the narrative after discussing in detail with a friend after I was initially unsure of what to make of the story, its open-ended finale…etc.)

Orphans & Kingdoms (2014)

Conclusion

A perplexing portrayal of juvenile delinquency intertwined with grief and trauma. A unique take on the fragility of the human soul.

3.8

Our Rating

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With an absent mother, frustrated father and an elder sister whose raging hormones turn into a nuisance – life is not easy for 11-year-old Tommaso (Alessandro Morace). He is the protagonist of Along the Ridge (Anche libero va bene), an Italian Coming-of-Age drama with a strong accent on the interpersonal relationship within the family.

The plot focuses on displaying the dramatic in ordinary situations and, while some may not find it has a coherent development – it still manages to encompass a significant number of motifs that frequent Coming-of-Age narratives such as the differences between social classes, friendship, the relationship between parents and kids, first-love, ambitions, and change in general.

Alessandro Morace delivers a compelling performance in the role of Tommaso. He is on screen in almost every scene (the story is told from his viewpoint after all) and it is his sincere acting which allows the viewers to feel for the struggles and tribulations of his character — a character who is charismatic, yet subjected to an emotional pressure hinted at by his eyes and expressions.

Admittedly I half-expected a much more dramatic ending – yet am not completely disappointed with the one the film has as it is in line with the rest of the narrative – sticking to a reality in which a no easy-way out is rare.

If you are not used to the realistic approach to storytelling, the film’s length may not be to your taste – especially for people looking for exciting twists in the story. That’s probably the reason why the film is likely to find fans mostly from among older viewers or those who enjoy the experience of discovering a natural talent in first-time child actors.

Trailer

If you want an uplifting Italian flick with Coming-of-Age overtones, Along the Ridge won’t fill the bill. But you probably will enjoy Gennaro Nunziante’s 2013 comedy Sole a catinelle (Sun in Buckets). If, on the other hand, you like the honesty and realism portrayed and look for similar titles – I recommend the 2011 indie film  A Little Closer or the Italian, Incompreso (1966).

Along the Ridge (Anche libero va bene)

In short

An Italian Coming-of-Age drama with a strong accent on the interpersonal relationship within the family.

3.8

Our Rating

Get the film

DVD

If you like to waste time and feel a bit naughty doing it with the help of a film filled with senseless jokes, Bad Manners is a perfect pick. The best part about it is the rocky musical score and frankly that vintage garb that everyone wears.

In a way, the film is a bizarre satire of life in the 80s in the USA – ridiculous, but so funny at times (and often a bit offensive). In a way, the experience of watching it is enjoying the guilty pleasure of enjoying its jokes.

If you are looking for a suitable, more recent, title to compare Bad Manners to – it would be Gene Stupnitsky‘s 2019 American Coming-of-Age film, Good Boys. Though, in all honestly, the scenes in that film don’t quite match the quirkiness of this 1984 flick. After all, scenes in which kids smoke, drink and make remarks about the human anatomy (PARENT ALERT) – are not likely to sneak by today’s morality censorship. It’s still mixing juvenility and vulgarity like in Good Boys but, for some reason, the wild and anarchic action (as there is not that much of a coherent story) is much more fun to watch.

The pace is fast, the thrills are exciting. Watching the film is like a rollercoaster ride. While you may not get much out of it, boy is it wicked fun to watch!  It’s about kids with attitude and energy, about disobedience and rebellion – and the slogan printed on the poster does not lie in promising that:

“Those kids will steal your heart …. (your wallet, your tires, your sanity)“

Trailer

[imdb]https://www.imdb.com/title/tt0087366/reference[/imdb]

Bad Manners (1984)

In short

Bad Manners is a bizarre satire of life in the 80s in the USA – ridiculous, but so funny at times. While you may not get much out of it, boy is it wicked fun to watch!

2.3

Our Rating

The Black Man (L’uomo nero) is the kind of Coming-of-Age film in which the main protagonist reminisces his childhood and all of the experiences and tribulations that have profoundly shaped and molded his persona. As typical for these kinds of narratives, the story is told from a child’s perspective, which makes it progressively inventive, mischievous and dazzling – all mixed in with bittersweet nostalgia.

The film takes us back to a small Italian village during the 60s, focusing on the goal of a rail-station employee to realize his artistic inspirations by drawing paintings – a hobby that has transformed into a wholesome obsession, affecting not only his personal life, but that of his family as well and especially of his seven-year-old son Gabriele (Guido Giaquinto).

Childhood is a magical time in most peoples’ lives and its portrayal in this film expresses the imagination of the young Gabriele, who frequently resorts to it when forced by the irrational (to his mind) behavior of the adults around him.  Yet this approach only enhances the real world without diminishing the dramatic value of the narrative.

The excellent casting of the young Guido Giaquinto as Gabriele is wonderful, as the innocence of his character frequently shines through his gaze and facial expressions. He finds himself in all kinds of bittersweet situations typical of children of that age: running barefoot on the streets, stuffing himself with candy, sneaking a peek at some naked ladies while with his uncle, kissing a girl and getting into all kinds of mischievous adventures.

The dynamic relationship between father and son is explored wholesomely with all of its traits – from loving care to frustration and from pride to disappointment. Because of his father’s ambitions, Gabriele’s childhood is a troubled one – yet still full of magic and awe.

The cinematography is beautiful and the way the Italian landscape and characters are portrayed reminds me of I’m Not Scared (2003) – another film with an Italian director with an emphasis on the rite-of-passage of its protagonist.

The experience of watching L’uomo nero (or The Black Man as it’s title is translated) can be compared to  reading a good autobiographical book. There are enough story motifs to intrigue the mind of the viewer while, at the same time, allowing for complete immersion into the bittersweet memories of one’s own childhood.

Trailer

[imdb]https://www.imdb.com/title/tt1451393/reference[/imdb]

The Black Man (2009)

In short

A Coming-of-Age film in which the main protagonist told from a child's perspective, progressively inventive, mischievous and dazzling – all mixed in with bittersweet nostalgia.

4.2

Our Rating

Slightly controversial, yet hilarious, Taika Waititi‘s 2019 film Jojo Rabbit is a refreshing Coming-of-Age film, full of energy and emotion, that guarantees the viewer’s enjoyment.

Ten-year-old JoJo (Roman Griffin Davis) has aspirations to be the best Arian member of The Hitler Youth. Living with his mother (Scarlett Johansson) in 1940s Vienna, JoJo is an impressionable boy, and what sets him apart from the rest of the aspiring youngsters to be good Nazi’s is his imaginary friend – not a funky looking animal or alien – but Adolf Hitler himself.

And if that isn’t enough, young Jojo discovers that his family is hiding a Jewish girl in the attic (although she lacks the horns he expects to see in order to tell Jews apart as he has always imagined).

The soundtrack, and its juxtaposition with the most satirical representation of Nazi society, turns what could have been regular documentary footage into an amazing backdrop for the story of young JoJo. There are some funny parallels between the German training camp JoJo attends at the beginning of the story and your average kids’ summer camp in the US – a satirical yet funny way to show how kids are both having fun and being prepared for the future roles that they will have in adult society.  It is this satirical view that makes the story narrative much more original than anything you have seen recently while, at the same time, the film does not sink into absurdity and sneaks in a real plausible mindset and thoughts of a young boy growing up surrounded by propaganda and adults’ ideals.

As original as the narrative is, it’s the time period in which the action is set and some of the happenings and motives in the film that bring back reminders of other Coming-of-Age films. This is especially true for young Jews hiding to survive, with people putting their own lives at risk by helping them or just a child’s perspective of the war behind the front lines. Some titles that come to mind are Brian Percival‘s The Book Thief and Søren Kragh-Jacobsen‘s The Island on Bird Street (1997).

What sets JoJo Rabbit apart is the wonderful casting. All the actors, their interactions, and dialogue greatly contribute to the overall appeal of the film. It’s hard to judge JoJo for his beliefs – seeing his enthusiasm and innocence shining through the facial expressions and eyes of the young Roman Griffin Davis. Hitler is played by Taika Waititi himself – in what is probably the most ridiculous and bizarre portrayal of a historical figure ever, while Thomasin McKenzie brings out heroism in a special way in her characterization of a Jewish girl in hiding. Some of the most heartwarming scenes in the film – both funny and sad-are related to JoJo and his mother’s interactions – portrayed by Scarlett Johansson. I was mostly impressed by her dance skills, but her character is intriguing on so many different levels.

Jojo Rabbit Official Trailer 

Taika Waititi has significant experience directing young actors – and fans of the Coming-of-Age genre will recall his films Hunt for the Wilderpeople (2016) and Boy (2010). Admittedly I’m not a big fan of the mentioned titles, but Jojo Rabbit completely blew me away with the ingenuity and originality of the plot and the finale – which did not disappoint.

[imdb]https://www.imdb.com/title/tt2584384/reference[/imdb]

Jojo Rabbit (2019)

In short

Slightly controversial, yet hilarious, Taika Waititi's 2019 film Jojo Rabbit is a refreshing Coming-of-Age  film, full of energy and emotion, that guarantees the viewer's enjoyment.

5

Our Rating