In the remote mountain town of Vermiglio, Italy, a Sicilian World War II deserter dramatically affects the lives of a teacher’s family who shelters him. Writer/director Maura Delpero crafts a sublime exploration of secrets, lies, and patriarchal dominance within a devout and insular social order.Vermiglio, winner of the Grand Jury Prize at the 2024 Venice Film Festival and Italy’s submission for Best International Film atthe upcoming 97th Academy Awards, is largely seen through the eyes of innocent children as they try to comprehend the seismic events happening around them.The film’s magnificent cinematography and score aid a glacial pace that builds steam to a sobering and deeply emotional climax.
In 1944, the Graziadei family huddles together in their various bedrooms to thwart the cold. The white-haired Cesare, the town’s respected teacher, lies beside his wife Adele and their infant son, the parents' ninth child. The plot primarily revolves around their three daughters, who also share a bed. Lucia, the eldest, is wistfully awake as Ada, the conflicted middle child, listens to Flavia, the youngest and smartest girl, ask about the man hiding in the barn. Will the Germans come for him?
Secret Lust & Religious Repression
1944, Vermiglio, a remote mountain village. The arrival of Pietro, a deserter, into the family of the local teacher, and his love for the teacher’s eldest daughter, will change the course of everyone’s life.
The bruised Pietro sits with everyone at breakfast the following morning. Cesare allows him and Attilio, their cousin who fled the war with Pietro, to remain in the barn. The villagers will keep their secret as long as they earn their keep. They’ll have to chop wood and be helpful to everyone while Cesare teaches class during the day. He also expects the illiterate Pietro to attend his adult sessions. Lucia steals a glance at the quiet interloper.
Flavia catches her sister Ada pleasuring herself behind the wardrobe, but doesn’t understand its significance. Ada prays immediately afterward in penance. Her carnal feelings, like Lucia’s, have been awakened. The sisters accompany their siblings to church for worship. Lucia smiles when Pietro carries her little brother. He’s brought her another note that expresses his burgeoning interest in a thoughtful way.
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A Strong Patriarch and His Daughters' Desires
Vermigliohas little dialogue in an extended opening. Delpero (who previously directedMaternal) gives important character exposition through visual cues. Cesare is not a tyrant. He’s erudite and respects the value of knowledge but dominates his family and everyone in town with rigid expectations. Adele, whose only concern is feeding her hungry children, doesn’t have the latitude or patience for philosophical discourse.Cesare makes sure his wife, sons, and daughters understand their place in the pecking order without violence or a heavy hand.Disobedience isn’t a thought. He’s both a father and a teacher, an educated man, and believes he knows better than everyone.
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Pietro influences the narrative without being the film’s central focus. He barely has any dialogue. Delpero uses his presence as a catalyst that disturbs the system. Pietro bares the scars of war but cannot hide his affection for Lucia. She’s utterly smitten and falls madly in love despite the genuine risk of their illicit romance. Their smoldering feelings are viewed with wander and excitement by her entranced sisters. Flavia’s intellect keeps her curiosity grounded, but Ada’s reaction to discovering sexuality is the film’s most fascinating tenet.
Ada’s masturbation sessions and her self-inflicted punishments for disgracing God lead to surprising developments.Delpero reminds the audience that there was no outlet or honest expression for questioning women.The sisters love and care for each other, but some bridges cannot be crossed. Lust and carnality were sources of shame to be buried. Acting on these impulses was a dangerous endeavor in a place with no choices or room for forgiveness. Decisions made in the heat of the moment carry significant consequences. Delpero’s script is absolutely brilliant in this regard.
A Slow but Beautifully Crafted Story
Vermiglio’s production values and setting are critical to framing character dynamics.Awe-inspiring shots of snow-covered buildings nestled in the rugged mountainside reinforce seclusion. There’s no escaping prying eyes in the village. Everyone knows that Pietro and Attilio are deserters. A critical scene where the men convene at the pub to argue about cowardice versus self-preservation sheds further light on masculine hierarchy. Cesare’s position of respect allows him to dictate public authority just like at home. The women and children were seen but not heard. Their opinion simply didn’t matter, even though they also agreed to shield the soldiers.
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Vermigliorequires buckets of patience as the rising action feels like a molasses drip at times. These scenes aren’t filler and thicken the soup by allowing the sisters, Cesare, and the supporting cast space to grow. It’s an admitted slow crawl before the pot begins to boil. Delpero is measured in every approach. She’s not rushing anywhere to reach her conclusion, which hits with a knockout blow and is totally worth the wait in spite of one glaring flaw.A cute soldier surrounded by teenage girls with no other prospects should have aroused some suspicions.Cesare allowing nature to run its steamy course requires a willing suspension of disbelief.
Vermigliois a production of Cinedora, Charades, Rai Cinema, and Anonymous Content et al. It is currently in limited theatrical release at New York City’s IFC Center with a staggered rollout to Los Angeles on January 3rd from Janus Films.
