Genova (15)
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.There's an awful lot of bereavement in cinema this week. In Michael Winterbottom's latest, Colin Firth plays a US-based academic who loses his wife in a car accident and takes his two daughters to Genoa, where he hopes to heal their grieving spirits.
Winterbottom, forswearing a plot, attempts to get by on atmosphere alone, and gives the narrow, shadowy streets of the ancient town a supporting part. For the rest it's a loosely improvised meander through Italy's bella vita – sunbathing, eating, romancing – with a sideline on Firth's younger daughter's visions of her dead mother. It is absolutely inconsequential, and (in time) mildly annoying. I suspect the director was aiming for a sun-blessed version of Don't Look Now, but his ghost story conjures neither suspense nor intrigue.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments