This article analyses three fantasy sequences in contemporary Italian cinema about political terrorism in the period known as the anni di piombo (‘years of lead’). It argues that, faced with divided memories, ideologically-charged narratives of the past, political interference and the so-called Italian anomalies, film-makers have reacted by making the absence of resolution a question in its own right. The article identifies and analyses three specific approaches, each linked to a sequence from each film. The first sequence, ‘uno sfondo di verità’, focuses on Marco Tullio Giordana’s Romanzo di una strage, which navigates the absence of resolution, lamenting it but also exploiting it to force a particular version of events. The second sequence, ‘vado a dormire’, focuses on Marco Bellocchio’s Buongiorno, notte, which uses a dream sequence to fabricate a different resolution, but simultaneously underscore reality. The third sequence, ‘mea culpa’, analyses the invented confession scene in Paolo Sorrentino’s Il Divo, arguing that it employs ambiguity to find closure in imagination itself, rather than in an imagined truth. Through the micro-analyses of these texts, this article seeks to highlight a broader question about cinema’s relationship with ambiguity and mystery in modern Italian history.
Gender and Migrant Roles in Italian Neorealist and New Migrant Films: Cinema as an Apparatus of Reconfiguration of National Identity and ‘Otherness’