×
You will be redirected back to your article in seconds

Locarno Film Review: ‘If Only’

Accomplished producer and first-time feature director Ginevra Elkann draws on her own childhood for a loose, likable dysfunctional family portrait.

Director:
Ginevra Elkann
With:
Riccardo Scamarcio, Alba Rohrwacher, Oro De Commarque, Milo Roussel, Ettore Giustiniani, Brett Gelman

1 hour 39 minutes

Magari” is an Italian word without a precise English-language equivalent: somewhere between “maybe” and “I wish,” backed by a particularly Italian tone of cheerful, shrugging flexibility. It’s the original title of Ginevra Elkann’s sweetly ruminative debut feature, though the more blandly whimsical “If Only” has been chosen as its English moniker, which is neither wrong nor quite right. Yet that elusiveness is apt enough in the case of Elkann’s semi-autobiographical film, which presents family tensions and divisions that are at once universally recognizable and firmly rooted in her Franco-Italian upbringing: Following a splintered family’s reconciliation over the course of one shambolic Christmas vacation, it’s a gentle, cool breeze of a memory piece made pleasurable by its richly and specifically accented telling. That might not translate into major global distribution, but this year’s Locarno opener will win friends on the festival circuit.

Elkann has already established herself on the European arthouse scene as an intrepid producer of bold, border-crossing projects, including Noaz Deshe’s “White Shadow” and Babak Jalali’s “Frontier Blues.” Her first feature as a writer-director — coming 14 years after the first short — is perhaps less formally adventurous than her production résumé might suggest, though it’s clearly a work of intimate personal investment, likely to inspire comparisons to Mia Hansen-Løve’s early films in its talky, wistful quality and flirtation with memoir.

The superficial resemblances between Elkann’s upbringing and that of the film’s eight-year-old narrator Alma (appealing newcomer Oro De Commarque) are clear enough in this mid-1980s period piece: Like the helmer, Alma is the youngest child of divorced parents, raised in Paris with two older brothers by her devoutly Catholic mother and a Russian stepfather, while her writer father resides in Rome. Other details are fictionalized around these parallel points, as if in some “magari” spirit of the film’s own: While Elkann was born into a pair of wealthy industrialist dynasties, Alma’s father Carlo (Riccardo Scamarcio) is a feckless, seemingly penniless chancer, keen to imbue his estranged, somewhat uptight kids with a measure of his happy-go-lucky energy.

As their mother plans an imminent family move from Paris to Canada, she sends an enthused Alma and her more reluctant brothers Seb (Milo Roussel) and Jean (Ettore Giustiniani) to Rome to spend the holidays with Carlo, whom they haven’t seen in some time. (“It’s hard to speak Italian every two years,” Seb pithily points out on being admonished by his father for speaking French.) It’s a frosty reunion from the off, though fanciful romantic Alma doesn’t see this faultlines: Imagining that she can engineer a reconciliation between her parents, who separated before she can remember, she idealizes a nuclear family unit at the expense of shaggier reality. Elkann’s script, co-written with Chiara Barzini, has a wry understanding of how children perceive adult relationships, naively simplifying some dynamics and wildly over-complicating others — not realizing that the emotional impulses of children and their parents aren’t always that far apart.

Things go from bad to worse when it emerges that Carlo can’t afford the skiing trip the kids have been promised, instead whisking them off to a shabby coastal cottage owned by his bohemian American pal Bruce (Brett Gelman, relishing a more affably flamboyant role than his oily villain from TV’s “Fleabag”). That’s not the only change of plan: Alma is young and ingenuous enough to buy Carlo’s claim that Benedetta, the glamorous fur-hatted woman accompanying them on their trip, is merely his esteemed co-writer on a planned screenplay project, but Seb and Jean are less forgiving. Played with droll loucheness by Italian indie godmother Alba Rohrwacher, cast amusingly against type, Benedetta turns out to be the disruptive element that heals more than she hurts. Even in their child’s-eye view of dysfunctional family life, Elkann and Barzini are disinclined toward easy stereotyping or pat moral judgments.

From the low-key chaos of this setup, the sketchy story ambles along in pleasantly episodic fashion: a first crush here, a rash act of teenage rebellion there, with stretches of hard-won harmony punctuated by shouty blowouts. “If Only” gets that family life doesn’t proceed according to a narrative arc; rather, it ebbs and flows, each day subject to mood swings and fleeting surges of rage or joy. There are no grand revelations here, just comforting, cumulatively moving observations we can all recognize: that our parents are rarely either the heroes or monsters we make them out to be at critical points in our childhoods, and that no amount of “magari” thinking can change the families we’re given or the shape they take.

Elkann handles a charismatic, freewheeling ensemble — including her trio of non-pro child performers — with apparent ease, while her filmmaking is no less casually assured. Desideria Rayner’s intuitive editing lends proceedings a spiky, diary-like rhythm, while d.p. Vladan Radovic, shooting on film, conjures a grainy, tactile aesthetic without straying into Instagram-filter kitsch. Indeed, much of the film exudes the milky, sun-faded sheen of old family photographs — perfect for these 30-year-old memories, whether they all belong to the director or not.

Popular on Variety

Locarno Film Review: 'If Only'

Reviewed at Soho Screening Rooms, London, July 31, 2019. (In Locarno Film Festival — Piazza Grande, opener.) Running time: 99 MINS. 

Production: (Italy-France) A Wildside production in co-production with Tribus P Films, Iconoclast, in association with Rai Cinema. (International sales: Rai Com, Rome.) Producers: Lorenzo Mieli, Mario Gianani, Lorenzo Gangarossa. Executive producer: Elena Recchia. Co-producer: Paul-Dominique Vacharasinthu.

Crew: Director: Ginevra Elkann. Screenplay: Elkann, Chiara Barzini. Camera (color): Vladan Radovic. Editor: Desideria Rayner. Music: Riccardo Sinigallia.

With: Riccardo Scamarcio, Alba Rohrwacher, Oro De Commarque, Milo Roussel, Ettore Giustiniani, Brett Gelman, Céline Sallette, Benjamin Baroche. (Italian, French dialogue)

More Film

  • Lucy-Lost

    Cartoon Forum: 30th Anniversary, Little Giants and New Generations

    TOULOUSE, France –  Celebrating its 30th anniversary, Cartoon Forum wrapped Sept. 19 having showcased the ever-growing strength of European animation. 85 projects were pitched from 24 countries at the co-production forum platform that played host to north of 1,000 investors, distributors and producers – a record number. Falling on French-speaking Belgium – Wallonie-Bruxelles – whose [...]

  • Renee Zellweger Rufus Wainwright Sam Smith

    Renée Zellweger: Judy Garland Was 'My Childhood Hero'

    Awards buzz is building around Renée Zellweger for her performance as Judy Garland, emerging as a frontrunner in the Oscar race for best actress. But for her, the real prize was paying tribute to Garland, of whom she’s been a lifelong fan. “Nobody was prettier, nobody sang prettier…the adventures she had, [she was] my childhood [...]

  • Topic Studios

    Layoffs Hit Topic Studios as TV Division Relocates to West Coast (EXCLUSIVE)

    A small round of layoffs has hit Topic Studios this week in the television division, insiders familiar with the company told Variety. One of the insiders said three executives at the New York-based producer and distributor are out: senior vice president of scripted programming and Viacom alum Lisa Leingang, vice president of development Mona Panchal [...]

  • 'Downton Abbey' Music Gets 'Bigger, Better,

    As 'Downton Abbey' Hits the Silver Screen, the Music, Too, Gets 'Bigger, Better, Grander'

    When “Downton Abbey” fans hear that familiar strings-and-piano theme, a Pavlovian response ensues: Get to the television immediately, because you don’t want to miss a minute of the addictive Crawley family melodrama to follow. This week, with the “Downton Abbey” movie reaching theaters on Friday, fans can’t wait for their fix of Lady Mary and [...]

  • 45 Seconds of Laughter

    Film Review: '45 Seconds of Laughter'

    “Everyone is worth more than their worst act,” said Roman Catholic sister and anti-death penalty advocate Helen Prejean, and it’s with these words that “45 Seconds of Laughter” closes. It’s an apt sentiment on which to leave Tim Robbins’ sincerely felt documentary study of the therapeutic acting workshops run by his own theater company in [...]

  • Julie Andrews

    Julie Andrews Selected for AFI's Life Achievement Award

    The American Film Institute Board of Trustees has selected Julie Andrews as the recipient of the 48th AFI Life Achievement Award. The award will be presented to Andrews on April 25 in Los Angeles. The ceremony will be telecast on TNT. More Reviews Album Review: Samantha Fish’s ‘Kill or Be Kind’ TV Review: 'A Little [...]

More From Our Brands

Access exclusive content