More of Gianni Amelio's retro-neorealism: the attention to social ailments, yes; poverty, bureaucracy, the boot heel on the human spirit, that type of thing; but with a polished and precise cinematic technique, and a strong-arm brand of sentimentality. The saucer-eyed, beetle-browed Enrico Lo Verso, of Amelio's Stolen Children, is once again on a somber odyssey, this time as chaperon not to young children but to an old man (the nonprofessional Carmelo Di Mazzarelli), a deserter from Il Duce's army and a political prisoner in Albania for half a century, now trying to make his way back to his native Sicily. Expressive locales and faces; informative about current conditions in Albania, albeit in a stern, schoolmasterish, knuckle-rapping kind of way. (1994) — Duncan Shepherd
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