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Inside a little town named Inviolata, the film pursues two companions Lazzaro and Tancredi. Despite the fact that they originate from aggregate diverse classes, they make such a dependable fellowship. At some point, Tancredi needs to left the town with his rich family going to settle at the city. Lazzaro experiences an energizing experience looking for his companion in spite of the fact that he never gets out from his town.
Rohrwacher isn't interested in resurrecting the ghosts of movies past so much as channeling the Brothers Grimm. She does not want to just show you pretty pictures, but a genuine vision.
[Rohrwacher] provides the truth of our collective contemporary paranoia. Rather than see [Lazzaro] as a saint to exploit, he becomes a devil harboring ulterior motives.
[Happy as Lazzaro] is a true standout: a Super 16mm fugue state that is both elegy and lament for a world that once valued selfless deeds and the humanistic interaction between fellow men above self-preservation and eternal mistrust.
This movie feels bracingly new and also like something that has been here forever. It has the urgency of a news bulletin and the authority of a classic.
Part of the movie's fun - and it is fun, once you adjust to its uninsistent rhythms - is how it forces you to share Lazarro's go-along-to-get-along ebullience.
Easily among this year's finest films and laced with an unapologetic social message, 'Happy As Lazzaro' dares one to imagine a reality where each individual would task themselves to be as selfless and morally whole as its main protagonist.