Italy, 1944. World War Two continues to rage on. Its violent, destructive grasp reaches the quiet, picturesque, snow-covered mountain village of Vermiglio in ways that are both subtle and drastic. In many aspects, the village is typical of that era, but the ghostly, almost comatose faces of young men returning from war give the setting and film that extra depth. This fascinating setup is captured superbly by director and writer Maura Delpero, who assuredly delves into the patriarchal and oppressive conditions of this time. True to human nature, as much is said as left unsaid in Vermiglio. The haunting, breath-taking mountainous backdrop enhances this thrilling simmer of ambiguity and tension.
Local teacher, Cesare (Tommaso Ragno), is the head of a deeply religious family; with his wife, Adele (Roberta Rovelli), they have raised a large family of ten children, although a couple die in their infancy. The ages range from below 10 years old to the early twenties, with eldest daughter Lucia (Martina Scrinzi) particularly affected by the war, in that it prevented her from finishing school. The family dynamic is spellbinding; at first, it seems odd that each child is served breakfast by Adele in complete silence, but this isn’t morose drama for the sake of it. Cesare’s rigid rule is swiftly shown by Delpero, and further brought to life in chilling detail by the commanding presence of the bassy-voiced Ragno.
The familial situation is tense, but there is real warmth and connection between many of them, such as with Lucia and her two younger sisters. Their bedtime chats are some of the most memorable moments of Vermiglio. Further happiness comes in the form of Pietro (Giuseppe De Domenico), a young man who is lauded as a war hero on his arrival to the village. Despite his clearly tormented persona, Pietro and Lucia fall in love, marry, and fall pregnant. But this brief hope in Vermiglio is threatened when Pietro goes to Sicily to see his mother, but doesn’t return nor write to Lucia.
From here, Delpero brilliantly weaves a web of secrets, lies, and volatile feelings. Eldest son Dino (Patrick Gardner) clashes with Cesare; the pregnant Lucia is bereft at her abandonment; youngest daughter Flavia (Anna Thaler) is chosen as the child to go to boarding school, to the disappointment of Ada (a sublime and understated Rachele Potrich). This tangled tapestry of emotions is wonderfully constructed by Delpero, who shows a very strong talent in composing realistic, emotionally-driven subplots. Vermiglio never quite ignites into what it could potentially reach, but on the whole, it is a very robust and absorbing drama.
Similarly reserved are the performances, but they are also, like the film itself, quietly stunning. Gardner is terrific as a simmering pot of resentment directed at his father, Ragno and Rovelli shine as the father and mother of the family, and Scrinzi brings a strong energy and, later, sadness to her role as Lucia. These performances add up to create a rich tapestry that works best as a commentary of the gendered roles and stereotypes of this era. It is magnetic and absorbing fare, and one of the finest dramas of the year.
Vermiglio is in cinemas from 17th January 2025
