Andrea Di Stefano’s third directorial feature is his most mature work to date. Di Stefano, who is known to the Italian audience mainly from his career as an actor (Rob Marsshall’s Nine, or Marina de Van’s Don’t Look Back, both from 2009), chose an experienced team for this sleek production . The actors Pierfrancesco Favino and Linda Caridi deliver top-notch performances in their respective, highly demanding roles, while the grim and noir-ish cinematography by Guido Michelotti and the catchy soundtrack by Santi Pulvirenti add the perfect finishing touch.
The spectacular opening sequence with an aerial shot of Milan, the camera hovering over various parts of the city, from the old and the modern districts to the docks and, finally, the protagonist’s residence, belongs to a modern film anthology. Eventually, the director focuses on the protagonist’s, police officer Franco Amore (Favino), residence where a surprise party is being prepared, for Franco’s retirement after 35 years of service. We watch as Franco’s wife, Viviana (Caridi) gathers a crowd of her husband’s friends and associates, all eagerly waiting for their man to pay their respects. Franco arrives, but seems to be a bit out of it, clearly in a fraught emotional state for reasons that will be revealed later in the story.
When Franco gets a phone call from his boss, even though this is his last day of service, he is obliged to go to the city centre, where a mass shooting resulted in the death of a precious friend and colleague, Dino (Francesco Di Leva), among other casualties. Franco is shaken by the news and, as he arrives at the crime scene, looks lost in one of the several close-ups on his face that always. These shots successful convey the character’s conflicting feelings, overwhelming sense of loss, and unbearable guilt. Rewind 10 days, and we follow Franco’s routine at work, serving as a form of security/bodyguard on behalf of his wife’s cousin Cosimo (Antonio Gerardi), a shady individual who sells costly pieces of jewellry to celebrities. The act of fate that seals Franco’s destiny and forces him to build his whole personality out of nothing during a single night, occurs when he saves the life of a Chinese gangster. Bao Zhang. Out of gratitude, he offers the veteran Italian copper the opportunity to work for him as a driver, though the exact nature of his new vocation remains shady. Franco also implicates his friend Dino in the business, a man who is keen on acquiring easy money, even if it is through illegal action.
The director, who also signs the film’s screenplay, attempts to trace the reasons why honourable men voluntarily decide to shake the devil’s hand, thus unleashing a chain reaction of events that could have horrible repercussions. Franco is introduced to the audience as a measured and modest individual, who loses his grip at the moment he agrees to work for a well-known gangster of Milan. Despite his conscientious work ethics, Franco never managed to climb the professional ranks, partly because of his wife’s family links with the mafia clan of “Ndrangheta”. Viviana, is initially introduced as a loving and caring spouse, however her role encompasses many facets and the audience can only make a solid assessment of her contribution to the story after the finale.
Favino’s portrayal of Franco shines a light on the human aspect of the character, employing the wide palette of his facial expressions and supreme command of body language. Franco Amore is a memorable character that will linger in your memory for a long time. The gloomy imagery, the dirty portrayal of Milan (you would never guess it’s one of the richest cities of Europe), and the claustrophobic tension of the second half elevates the suspense level further up. While Last Night of Amore doesn’t add anything new in the trite tropes of the crime genre, it stands out due to the production’s high values, exceptional lead and supporting performances, and photography reminiscent of the most notable Neo-noirs of the 209th century. Unmissable!
Last Night of Amore premiered at this year’s Berlinale, in the Berlinale Special Section, and it became a box-office hit in its home nation a few months later. There is no UK release date as of yet.