A Casa Tutti Bene 2, an escalation of tension and tension. Review of episodes 3 and 4

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Lost loves, found loves, loves that are in danger of being lost and loves that cannot be lost. The third and fourth episodes of the second season of Home All Well (THE SPECIAL), exclusively on Sky and streaming only on Now on Friday 12 May, continue to explore the family dynamics of the Ristuccias and the Marianis with the usual clinical eye of Gabriele Muccino, increasingly at ease with seriality and a form of storytelling that allows you to expand the narrative universes of individual characters.

A frenetic and unpredictable dance

So we find ourselves navigating the storylines of Carlo and Ginevra, Diego and Sara, Riccardo and Luana, Paolo and Giovanni. Storylines that proceed, at times, parallel, and then intersect and move away again, as if you were inside a frenetic and unpredictable dance. The character who holds the detonator button capable of detonating the situation at any moment is Geneva, who has returned home without remembering anything about the accident that had brought her to the brink of death and what happened to her. ‘had preceded, yet extraordinarily rapid in its process of recovery and adaptation.


The unease and bewilderment of Geneva are entrusted to a Laura Adriani who works a lot with expressiveness and little with words. The close-ups that are often dedicated to her bring us inside her confusion and present us with a character grappling with a personal rubik’s cube, an enigma to solve, a hunt for a clue in order to reconstruct one’s memory. On the other hand, Ambra (Laura Morante) experiences this expectation as a criminal whose judgment is suspended but inevitable, in a state of unbearable anguish.


And while Carlo is poised between a present full of uncertainties with Ginevra and the temptation to take refuge in the past with Elettra, Sara looks to the future, trying to put aside once and for all her toxic and unbalanced relationship with an increasingly obsessive Diego . Paolo, on the other hand, finds comfort and new hope in his struggle to keep custody of his son Giovanni thanks to the new character of Rebecca, a lawyer capable of solving his family problems and a woman potentially capable of restoring serenity even from a sentimental point of view.


In the vortex of dysfunctional relationships that drag down even the love between Riccardo and Luana, the healthiest relationship continues to be that between Sandro and Beatrice, physically more distant but still deeply and sincerely tied to each other, despite the progress of the illness of him, hospitalized in a nursing home for Alzheimer’s patients but still lucid enough to understand and accept that his wife can have an affair and continue to live, beyond any selfishness, jealousy and possessiveness.


Muccino’s dynamic direction, with its sequence shots and the camera that revolves around the actors in dialogues and comparisons without shots and reverse shots that know no solution of continuity, transports the viewer into the story, following or in pursuit of the characters, walking among the tables of San Pietro, in a sort of breaking the inverted fourth wall, in which it is not the character who leaves the screen but the spectator who enters it. And as the tension rises, towards a dramatic climax announced by the changes of register in the soundtrack, so does the pathos which leads to a finale of the fourth episode in which the undertones of the crime make themselves felt overbearingly and the story returns to being tinged with red.


In the middle of the second season, Home All Well 2 it appears as a rich, almost baroque, stratified series. A dish cooked by a starred chef in which all the ingredients appear balanced with each other, in the exaltation of a collective work, that of the crew and cast, which evidently has not accepted compromises in the pursuit of quality. An Italian drama, of course, in full Muccinian style, but also the convincing continuation of an experiment that can now be said to be perfectly successful.