Fresh off of aGolden Globenomination,Vermigliohas been making an easy name for itself in the festival circuit since premiering atthe 2024 Venice Film Festival. The third feature film from writer and directorMaura Delpero, who previously helmedNadea e SvetaandMaternal, has not only won several top prizes at Venice, but also taken home several accolades from other reputable fests like Chicago, Capri, and Lisbon. These awards have madeVermiglioa major contender forthe Best International Film raceat the upcoming Academy Awards, and it’s easy to see why.
The titular village thatVermiglioshines a spotlight on is spectacularly brought to life, largely thanks to some stunning cinematography fromMikhail Krichman. The year-round landscape that is practically untouched by the film’s then-ongoing global war is the perfect setting for a large family hoping to find a way forward as their lives take unexpected turns.One such family member has a compelling tragic story to tell, but it’s one that’s frequently interrupted by a cast that seems far too big for whatVermigliois trying to accomplish.
What Is ‘Vermiglio’ About?
Set during the closing days of World War II,Vermigliofollows a year in the life of the family that functions as the pillar of this close-knit Italian community. The otherwise quiet mountain town becomes the home of two unexpected visitors, the pair being a duo of deserting Sicilian soldiers. Instead of turning them over to the government, the village welcomes them with open arms, and the family’s oldest daughter, Lucia (Martina Scrinzi), even takes a liking to one of the soldiers, Pietro (Giuseppe De Domenico). Though this mountaintop may look like a picturesque fairy tale, this family will soon learn that even the most innocent individuals all have their secrets.
From that synopsis alone, one would probably assume that the main core narrative inVermigliorevolves around Lucia and Pietro. One would be correct in that case, as the love story between a humble farm girl and a soldier with a checkered past is whereVermigliotruly shines. Through visual storytelling alone, as Lucia and Pietro have just a few lines of dialogue, we see first-hand how the two would-be lovers became inexplicably intertwined. It’s a winding and wavy journey that isas poignant as it is tragic.
Sadly, despite being the main plotline, Lucia and Pietro’s story seemingly takes up but half ofVermiglio’s runtime. The other half is dedicated to about a dozen of Lucia’s family members, and to put it bluntly,that is simply too many characters. In addition to the central romance, there are also subplots about a sick and struggling infant, a teenage alcoholic, and a young woman who becomes addicted to porn and…chicken feces. That’s only scratching the surface, and none of them meld together to create a cohesive plot like they likely well should.
‘Vermiglio’ Has Too Many Characters, Not Enough Substance
Vermigliois very much a “slice-of-life” story, with the film essentially being a look into the lives of a small community over a single year. This is simply and effectively translated through the changes of the seasons, with everything from the cold and brutal winter to the hot and vibrant summer being on full display. Director of Photography Mikhail Krichman’sglorious cinematography does an amazing job of showing just how isolated the titular location isfrom the rest of society, particularly during the scenes in the winter which are practically drenched in snow.
It proves to be a perfect setting for Lucia and Pietro, and while the other characters do not have the time to be fleshed out further, their story is still compellingly tragic.With a character like Pietro, who is still a more vital character in the film’s overall plot, it makes sense for him to be a lot more ambiguous. The lack of dialogue and lack of exploration for his backstory makesthe shocking third-act twistall the more impactful. Lucia also shines in the third act, as her reaction to a world-shattering event forever changes her as a human being.
Meaningful change is sadly lacking fromVermiglio’s supporting cast, which feels far too large for a run-time of only two hours. That’s a shame too, as there was some real potential to explore these individuals as dynamic characters. The father, Cesare’s (Tommaso Ragno) deeply secretive past times, the mother, Adele’s (Roberta Rovelli) constant pressure to keep adding more children to her family, and the eldest son, Dino’s (Patrick Gardner) alcoholism and failure to live up to Cesare’s expectations all could have been really powerful moments.
‘Vermiglio’ Could Have Benefited From a Couple of Extra Hours
A story with this many characters really deserves a lot more breathing room. Even in an age where historicaldramas are consistently criticized for being too lengthy, a two-and-a-half or even a three-hour runtime feels like it would have been warranted here to give every member of the cast their time to shine. Thankfully,the torrid love tale of its two leads is still enough to keepVermigliohigh above many of its competitors in the Best International Film race.
The vast and expansive visual splendor ofVermigliocan’t be understated. Just aboutevery frame in Maura Delpero’s excellently shot period piece looks like it came from a painting, effortlessly capturing a part of the world that at the time was hardly touched by humanity. However,Vermiglio’s stunning landscapes are expansive and winding, which generates something of a conundrum. The main central path brings with it a rewarding story that boasts the risks and payoffs of falling in love. The other thinner side paths on this road, unfortunately, frequently lead to dead ends despite being ripe for genuine expansion.
Vermigliois playing in select theaters now.
The beautiful ‘Vermiglio’ may have an excellent love story as it’s maind raw, but it misses some great potential to explore meaningful side-stories.
