I believe the term “minimalism” used in this context is derived from the zeitgeist of Italian cinema — and society in general — during the the post 1960s and 1970s era in which “social unrest” pushed new directors to try to “distance themselves from controversial socio-political subjects.” Additionally, in Laviosa’s article, it is said that this move away from political and moral cinematic themes meant a move towards “profit making TV projects,” in the 1980s. During the 1980s this meant that new films were financed on a “minimalist” scale: “low budget films with low expectations.” It is interesting, because this move away from complex, political, and sociological themes in films with grand budgets towards something more minimal with low costs
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The film largely stays away from political statements/themes, but finds it relevance through the complex relationship it explores between a mother and her two children. In this sense, none of the characters are whitewashed, they all contain flaws: Bruno — the son — we see is addicted to heroin, feels an “emptiness” inside him, and has become intentionally detached from his mother throughout his life. The film is thus concerned with Bruno’s interior monologue concerning his relationship with his now dying mother, revealing through flashbacks how she might have smothered his introvertive personality with overt affection and optimism, but none the less fought for the best life for her children. This weaving between flashbacks of childhood and the present is just as well entangled with lighthearted, comedic moments and tear-jerking, sentimental scenes. This complex display of time and emotion may focus almost entirely on this one family, but none the less does not need some grand political message, as it finds its power through a raw display of Bruno finding peace with his mother on her deathbed, all the while reflecting upon his life up until this point. For the reason that this film focuses on a singular family it may be considered “minimalist,” but that seems misleading, because this film reflects upon broad themes such as morality, mortality, and relationships
The film largely stays away from political statements/themes, but finds it relevance through the complex relationship it explores between a mother and her two children. In this sense, none of the characters are whitewashed, they all contain flaws: Bruno — the son — we see is addicted to heroin, feels an “emptiness” inside him, and has become intentionally detached from his mother throughout his life. The film is thus concerned with Bruno’s interior monologue concerning his relationship with his now dying mother, revealing through flashbacks how she might have smothered his introvertive personality with overt affection and optimism, but none the less fought for the best life for her children. This weaving between flashbacks of childhood and the present is just as well entangled with lighthearted, comedic moments and tear-jerking, sentimental scenes. This complex display of time and emotion may focus almost entirely on this one family, but none the less does not need some grand political message, as it finds its power through a raw display of Bruno finding peace with his mother on her deathbed, all the while reflecting upon his life up until this point. For the reason that this film focuses on a singular family it may be considered “minimalist,” but that seems misleading, because this film reflects upon broad themes such as morality, mortality, and relationships