Margherita Buy Movies

In Bread and Tulips, director Silvio Soldini detailed the journey of a discontented housewife who threw caution to the wind to find true happiness in Venice; in Days and Clouds, the same filmmaker explores the opposite side of the coin by telling the tale of a middle-class homemaker from Genoa who suddenly finds her life turned upside down. Elsa (Margherita Buy) is the picture of middle-class contentment: she's happily married, well adjusted, and spends most of her spare time developing her skills as an amateur historian specializing in restoration. Recently, Elsa even decided to return to school in order to earn her degree. One day, after gently scraping the ceiling of a local chapel to reveal hidden angels that hadn't seen the light of day in decades, Elsa is informed by her husband, Michele (Antonio Albanese), that the couple will have to give up their posh apartment. Michele was formerly a partner in a successful shipping firm, but now that his partner has forced him out of the business, the happy husband and wife won't be able to maintain their current lifestyle. In the aftermath of that disheartening revelation, Elsa and Michele both try to find work while dealing with the predicament in directly opposing ways. Later, after moving into a much smaller apartment, the cracks in Elsa and Michele's now fragile marriage gradually begin to widen. ~ Jason Buchanan, Rovi

Controversial Italian Prime Minister Silvio Berluscoi is just one of the targets of writer and director Nanni Moretti's satiric focus in this sharp comedy-drama. In the 1970's, Bruno (Silvio Orlando) was one of Italy's most daring and best-respected filmmakers, while his wife Paola (Margherita Buy) was a leading box-office star. However, come the new millennium, things are a whole lot different for Bruno -- Paola is divorcing him, his production company is on the verge of bankruptcy, and he can't get a new project off the ground. When Teresa (Jasmine Trinca), a young woman down on her luck, approaches Bruno with a script, he agrees to take on the project, even though he hasn't read it and doesn't know how he'll raise the money. Bruno discovers he's put himself in hot water when he reads the screenplay and discovers it's a frontal assault on Silvio Berluscoi that doesn't shy away from allegations of his connection to organized crime, tax evasion, bribery and influence peddling. While Italian firms won't dare touch the project, Bruno discovers a Polish financier (Jerzy Stuhr) who will put up the money, but under one condition -- Bruno has to persuade box-office idol Marco Pulici (Michele Placidio) to play Berluscoi. Il Caimano (aka The Caiman) received its North American premier at the 2006 Toronto Film Festival. ~ Mark Deming, Rovi

Director Giovanni Veronesi interweaves four tales of family tragedy, ill-fated love affairs, eternal passion, and fleeting relationships in a humorous, romantic, and moving look at the lasting effect of love and the human condition. ~ Jason Buchanan, Rovi

Writer/director Paolo Virzì and co-writer Francesco Bruni follow up their sly fish-out-of-water comedy My Name Is Tanino with another comedy in a similar vein, Caterina in the Big City. Giancarlo (Sergio Castellitto) is delighted when he has an opportunity to leave his provincial teaching job and drag his wife Agata (Margherita Buy) and 12-year old daughter Caterina (newcomer Alice Teghil) back to his old neighborhood in Rome. Caterina is a sweet, naïve, and pretty girl, and on her first day of school, she finds herself mocked as a hick. Her classmates are the sons and daughters of Rome's elite. Margherita's (Carolina Iaquaniello) parents are prominent intellectuals, and she leads a faction of bohemian socialist kids, while Daniella's father is a political heavyweight, and her preppy clique dresses in designer duds and espouses right-wing politics. Poor Caterina finds the two opposing factions battling over her allegiance, but every time she makes a new friend, her father fouls things up. Giancarlo, who is also an aspiring novelist, spends his evenings at home ranting about the elites and their devious, cliquish ways, but every time he's in the presence of an important person, he desperately tries to ingratiate himself and get his talents noticed. Meanwhile, he's drifting into depression and isolating himself from his wife and daughter. Caterina in the Big City was shown at New York City's Walter Reade Theater in 2004 as part of a Sergio Castellitto retrospective presented by the Film Society of Lincoln Center. ~ Josh Ralske, Rovi

Nae Caranfil directs this playful movie about the two years that young French author Stendhal gallivanted about the Italian countryside. Stendhal (Francois Cluzet), then still known simply as Henri Beyle, is living the life of a gentleman-wanderer, looking for a direction in his life. He spends a few nights at the estate of Count Nencini (Giancarlo Giannini) as he waits for the army to dispatch with a brigand lair. He learns that the melancholy Count is secretly supporting the bandit, which soon embroils the young writer in a web of intrigue. Meanwhile, he finds himself profoundly attracted to young widow Giuseppina (Isabella Ferrari). ~ Jonathan Crow, Rovi

Strained family ties add to the tension of a romantic triangle in this downbeat drama from Italy. Nina (Valeria Golino) is an emotionally unstable actress who can't figure out how to get her life in order and who frightens away almost any man who comes near her, including her former husband and her son. Clara (Margherita Buy) is a psychiatrist working in a mental hospital who has little going on in her life but her work. Nina and Clara have practically nothing in common except two things -- they're sisters, and both are in love with Leo (Ennio Fantastichini), an orderly at a hospital. Leo is fond of Nina, but when she leaves town without warning, he's upset at being unable to find her. Leo instead tracks down Clara, and she soon finds herself attracted to the warm, good-natured stranger. ~ Mark Deming, Rovi

Fuori Dal Mondo/Not of This World tells a story about people learning to deal with their responsibilities and follow their true path in life. Caterina (Margherita Buy) is a novice nun who is soon to take her vows. One day, while taking a walk in the park, she discovers a newborn baby which has been wrapped in a sweater. While Caterina immediately turns the child over to the proper authorities, she feels compelled to find out more about the baby and its parents. A tag on the sweater leads her to Ernesto (Silvio Orlando), a mean-spirited type who operates a dry cleaning shop. Ernesto eventually admits that he may be the child's father, and, as he and Caterina get to know each other, he begins to open up and realize the importance of accepting his responsibilities. Similarly, Caterina begins to realize her desire to have a child of her own, and her growing attraction to Ernesto, may mean a life in the church may not be right for her. Meanwhile, the child's mother has to deal with her guilt and confusion, her unhappy relationship with her family, and her need to build a new and healthier life for herself. Fuori Dal Mondo/Not of This World marks the fourth collaboration between actress Margherita Buy and director Giuseppe Piccioni. ~ Mark Deming, Rovi

The English title of this complex Italian film is apt. Featuring 65 main characters and 130 speaking parts (famous faces abound and many of the actors appeared gratis), and ranging in tone from tartly humorous to darkly tragic, it presents 30 interwoven slices from the lives of modern day Romans during a single day. The lone, silent figure of a lone jogger provides a sort of continuity between the vignettes. Beginning at sunset of the previous day, the jogger is seen warming up on his apartment terrace, looking for all the world as if he would like to jump. The rest of the stories seem to be randomly presented. Stories include the robbery of a Chinese restaurant that causes a birthday celebrant to die of fright, two different newlyweds who find themselves attracted to each other, an opportunistic mechanic's plan to capitalize on the death of a rival, a sneaky, sadistic meter maid and others. One uniting feature of the stories is their underlying bitter assessment of modern humanity. People are seen as selfish and basically cruel, still the stories move quickly and the balance between humor and drama, affection and cynicism, and shallowness and complexity is carefully maintained. ~ Sandra Brennan, Rovi

The complicated travails of several generations of Italian women provide the basis for this drama that is based on a novel by Susanna Tamaro. It begins with the peaceful death of Olga, the elderly family matriarch. Marta, her granddaughter returns from the US to attend the funeral and once in Olga's villa in Trieste, begins reading her grandmother's diary. Olga's story unfolds via flashback. As a young woman, Oldga had to marry Antonio a man she didn't love. Later she became passionately involved with a handsome doctor at the local spa. He impregnates her and shortly thereafter dies in a terrible car wreck. The result of their love is Illaria, who grows up to be terribly neurotic. She bears Marta and then she too dies in an automobile accident, leaving Marta to be raised by Olga. ~ Sandra Brennan, Rovi

In this French drama, an irresponsible man is forced by circumstances beyond his control to communicate with the family he's kept at a distance. Jean-Paul (Gerard Lanvin) is the manager of a hotel in Nice whose shady business practices have put him seriously into debt; he needs to raise 300,000 francs in three days, or the loan sharks who've been keeping him afloat will come after him. Desperate for help, he approaches his younger brother Philippe (Jean-Marc Barr), whom he hasn't spoken with in ten years; Philippe stole Jean-Paul's girl from him, and subsequently married her. Jean-Paul also contacts his older brother Francis (Bernard Giraudeau), a schoolteacher who was disowned by their father when he admitted to the family that he was homosexual. Neither Philippe nor Francis can help him, so Jean-Paul tries to visit his father Raphael (Roberto Herlitzka) in Italy, hoping to put a large insurance policy on his father's life, naming himself as beneficiary. When it turns out that Raphael has gone missing, the three brothers must come together to find their father and keep him out of danger. ~ Mark Deming, Rovi