|Aspect Ratio:||1.85:1 (XWide)|
|Subtitles:||It is expected that this film is fully subtitled.|
Director: Nanni Moretti
Starring: Silvio Orlando, Margherita Buy, Michele Placido
Bruno is down on his luck. A desperate and bad-tempered producer, he watches his family fall to pieces in front of him as he struggles through a divorce, something he finds especially hard as he still loves his wife. To make matters worse Bruno, played by the talented Silvio Orlando, is under immense pressure to avoid bankruptcy by guaranteeing a hit, and in his field of action-adventure movies, things aren't looking like he will.
That's when a new writer steps in. Armed with her project aiming to reveal the whole media and political career of Silvio Berlusconi, Bruno is persuaded to think it’s possible to make something big out of a political exposé, and get himself back on track in the progress.
Moretti, Italy's most famous film maker, seems keen himself to scrutinise Berlusconi's political role, as suggested by the film's title that refers to the Prime Minister as a predator or a crocodile. Indeed, one of the movie's most memorable scenes portrays Berlusconi sitting in an office when a suitcase overflowing with money mysteriously crashes through the ceiling, underlining more than just a hint of criticism. It is therefore hardly surprising that Il Caimano, interestingly due to come out whilst the Italian elections were mid-flow, caused untold amounts of controversy, so is unquestionably one for all those who enjoy the taste of political scandal.
It is a joy to watch Orlando's lively and passionate performances in this well crafted movie. Indeed, he succeeds beautifully in making you root for Bruno despite everything, adding so many complimentary touching moments to what simply is not a dissection of political goings on. Ultimately, this film cleverly allows a warm family drama to emerge via a film within a film concerning Italian politics. The comparison between Bruno's divorce and Italy's divorce from sound government since Berlusconi is especially masterful. Certainly, it seems fairer to argue that Il Caimano is not indeed a piece of propaganda, but a unique way of commenting on both the social and political problems currently reverberating through Italy.