Storge love is the sun Gianni Di Gregorio’s Damned If You Do, Damned If You Don’t (Come ti muovi, sbagli) orbits around: a celestial rhythm that does not cease for its 97-minute run. The film premiered at Venice, closing the festival’s Giornate Degli Autori section. Starring is Di Gregorio himself as the nameless professor, a 70 year old retiree who smiles through all the stresses and whims that family life brings. Stranger Things and Game of Thrones star Tom Wlaschiha is his disastrous son-in-law Helmut, whose resemblance to a young Di Gregorio feels like intentional casting. One is in his older years and ever-patient; the other is impulsive yet well-meaning. The former’s helping of the latter exhibits the growth of a man through the eyes of the experienced. Damned is the perfect example of a film best told with its star and writer in the director’s seat; Di Gregorio’s love of his own story is felt in every aspect.

Damp, browny oranges and bright blues and greens identify the colour grading – with a warmth that parallels the comforting feel of the old professor’s unmoving love for his family. Even when his peace is disrupted, he doesn’t forget what’s most important. Of the film, Di Gregorio himself said to Deadline: “This film is dedicated to family—and therefore to love. To that force that makes us do things we never thought we could do, turning us into tireless workers, but also into epic heroes and heroines.”

Yes, Damned feels like a hug for all viewers: neither possessing any kind of cheap shock-value rampant in cinema nor lacking plot by any means. The story moves like a stream, fits together well, and prompts viewers to think. It doesn’t have to, yet it is in the film’s sheer nature that it spouts numerous lessons about family and love – from the simple love is patients to the seniors have every right to seek relationships as the young – and it’ll have you sworn on nurturing the connections you have. 

No matter their imperfections, you’ll find yourself adoring every character. Our main trio of actors, Di Gregorio, Wlaschiha and Greta Scarano (Sofia, the professor’s daughter) are as flawless as you’d expect. The latter reflects the professor’s patient love with her character’s own steel fused on, while the professor is performed as a tired but eternal smiler; he’s not perfect, but he always tries his best. Helmut is his counterpart: regretful and desperate, whose scenes amidst barely held back tears are emulated so well by Wlaschiha, and he ensures we’re aware of his range when he portrays the intensity of Helmut’s love and good intentions in later scenes. 

Maurizio Calvesi’s cinematography is fabulous in such sequences; the very intensely narrow depth of field on the actors’ faces simply makes them look like paintings. The decision to film in digital was a good one; Damned possesses all the charm of film without the bombardment of grain on the senses. Beauty is in every passing moment, every camera pan, and every expression that looks like an Alexandre Cabanel. Ratchev & Carratello’s piano and accordion tune is as endearing as the old professor, and all the other pieces of score, particularly in transitional scenes, progress the film as naturally as water. 

One of Damned’s most profound teachings – that victims have as much of a right to forgive as they do not forgiving – might be missed or taken as infidelity apologism to the viewer not paying attention (like an old man falling asleep on the sofa). But the film’s unequivocally balanced view on imperfect humanity is a refreshing one. Giovanna’s (Iaia Forte) penned note in a gifted book to the professor encompassed this: “For your studies, may they take you far, but never too far away.” Even when we traverse from the pristine Alps to the Italian countryside, we’re never far from the comfort that Damned brings. 

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Written by Maddie Armstrong

Featured image courtesy of the Venice Film Festival

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