01x05 - Love

[bunniefuu]

A NETFLIX SERIES

[woman praying in Latin]

[Giacomo] What's the matter, child?

It's not fair, um...

I finally met someone
who I thought might actually be real.

A person who didn't look down on me,

who didn't treat me
like a child that needed to be led

or an object to be molded.

And you're saying he's not coming back?

What will I do now?

I feel ugly.

[electronic music playing]

An ugly personality.

But I still really want to be loved.

- Hey, Giannì.
- Hi, Corrà.

[Corrado] Wanna go for a ride?

[Giovà] Take care, Corrà.

[Corrado] What, too busy?

CHAPTER 5
LOVE

[female voice in Italian, echoing]
When you're little, everything seems big.

When you're grown-up,
everything seems small.

Each to their own.

[Andrè] ...and then looked at me
and said,

- "Oh. You really look like a boiled fish."
- [door slams]

[Nella laughs]

[female voice in Italian] Nobody knows.

[Nella] I'd have said a buttery fish!

- It's so greasy. Look, it looks dirty!
- [Andrè laughing]

[Nella] I can't believe it.
He did a terrible job.

- [Andrè] Yeah.
- [Nella] Who cut it for you?

- [Andrè] It was Lino, as usual.
- [Nella] Oh, I see.

- Now it all makes sense.
- [Andrè laughs]

- Hi, Dad.
- Hi, Giovà. [chuckles]

[Nella laughing]

Hmm. [laughs]

[both laughing loudly]

Everything okay?

- Yes. Yes.
- [chuckles]

Don't you even have
an ounce of respect for yourself?

Doesn't he disgust you?

Don't get any ideas.
I just made him coffee.

I'm still disgusted.

Good to know.
Thanks a lot, to both of you.

It's just that I forget to hate him
from time to time.

As long as you're happy.

- I'm off.
- To where? You just came home.

Hey, wait a minute, Giovà.

- Isn't it short?
- What?

My hair.

[Giovà] Sorry, I don't give
a damn about your hair.

[laughs]

[Andrè] Hmm.

- I'm getting old. Hm.
- [Giovà] No, you look younger to me now.

You looked much older when I was a child.

[Andrè] Pain doesn't make you look
any younger.

Well, then, maybe
you're not suffering enough.

[Nella] Giovà, cut him some slack,
would you?

- Dad, I want to read the Gospel.
- Ah.

Now you're really trying to piss him off.

Why the Gospel?

Because a guy talked about it
in a way that I found fascinating.

- [Nella] And you fell in love.
- No. I want to be his friend.

- [Nella] Mmm!
- [Andrè] What's his name?

Roberto Matese.

- Roberto Matese?
- [Giovà] Mmm.

Yes, there's a young ideologist with
a Christian background with that name.

Then it's him.

[Andrè] Ah.

Did you meet him in Pascone?

Yeah, he's from there, but then after,
he moved to Milan.

I was introduced by Vittoria.

- [Andrè] Hm.
- [sighs]

I'm pleased.

Yes.

There are some people that are
worth getting to know a little better...

As for the Gospel,

remember, it's meant to study.

Is that clear? You don't just... read it.

Come, I'll show you something.

Here it is.

[sighs] Read it with abandon.

It'll captivate you.

It's full of unfairness.

Thanks.

Giovà. What is this Matese guy like?

He looks you in the eyes.

["Gennarino 'O Sioux"
by Tonica & Dominante playing]

- Bye.
- Bye-bye.

Bye, Nello.

[door slams]

["Gennarino 'O Sioux" continues playing]

I'm going.

- I'll see you out.
- No. Bye.

"DOWNTOWN AND SUBURBS"

GOLDEN CUBE
OCTOBER 13, 1996 AT 21:00

[upbeat music playing]

[laughing]

[Angela] Whoo!

[Tonino] Look out, I'm coming for you!

No, Tonino! Uh...

Get away from me.

- Giovà, I have a favor to ask.
- Tell me.

- Please take back Tonino.
- When was he ever mine?

Then take him now.
I don't wanna date him anymore.

No, thanks. You can keep him. Enjoy.

[Angela] I only wanted him
because I thought you liked him.

What are you saying?

Giovà, you know ever since we were kids,

everything that you liked,
I had to like too.

- Look at me.
- Okay, but now you're 16.

It's time to make your own choices,
don't you think, huh?

Plus, Tonino's a really nice guy.

You know, someone to get serious with.

Tonino is useless.

- You're exaggerating.
- No, I'm not.

Whenever we're close,
his pants are always bulging.

And I feel it. I can really feel it.
And I like it, so I get closer.

And what's he do?

He moves and says,
"No, no! I have to respect you!"

- [chuckles]
- He's such a little wimp! Ugh!

When we go out together,
I'm always around Giuliana.

At least I can laugh a little.
Otherwise, it's boring!

And she says you're extraordinary.

- Me?
- Mm-hmm.

And it makes me so proud.

Actually, Roberto says that,
and she obviously agrees with him.

[Tonino] Let's get going.
Roberto's coming.

Ugh! Roberto this, Roberto that.

Are you in love with him or what?

See, Giovà?

When you try to be serious with her,
all you get is suspicion.

- [Angela] I'm very suspicious indeed.
- You see?

I'll get us something to drink.

[Ida] It was a scarecrow from childhood.

Like a shadow.

Thin and frantic.

It was a messy figure.

It was lurking, in the corners of houses,
as night falls.

[crowd applauds]

[woman singing in Italian]
♪ I turn and turn again, sighing ♪

♪ I spend whole nights awake ♪

♪ I admire your beauty ♪

Mmm.

♪ And see the whole night pass
Until dawn ♪

♪ Now because of you ♪

♪ I no longer sleep ♪

♪ My aching heart has no more peace... ♪

[Giovà] Anyway, listen, Tonì. There isn't
anything wrong in admiring someone.

- I think it's great.
- [sniffs]

The others don't understand Roberto.

But I do.

He's the kind of person
who just... makes you feel important.

Then he's like a treasure.

- Yeah.
- To protect.

Do you feel understood?

I just know that
I won't be locked in a cage.

[Giovà chuckles]

[Ida] I can't measure distances anymore.

I'm hitting walls.

Am I the only one who's going blind?

Was I more real
when I saw everything clearly?

Or now that
my strongest and deepest feelings,

love and hate...

blind me?

[crowd applauding]

[crowd chattering indistinctly]

You said such beautiful words.

[Ida] Thanks.

[song ends]

[crowd applauding]

[Costanza] Hi.

Here we are!

You look good.

So how are you doing?

Costanza, sit.

[clears throat]

I've been meaning to call for a long time,
but... I couldn't find the courage.

I'd like to talk a little bit to clarify.

[Nella] To clarify?

Now she wants to clarify.

What's there to clarify?

Uh... I guess I don't know anymore. I don't...

[Nella] Maybe you want to cry.

Good for you.

It means you haven't cried enough.

I'm all out of tears now.

Nella, don't be mean.
You know I love you, right?

In this town, people keep saying
how much they love each other.

[scoffs] It's all a big lie.
Not even a beautiful one.

You're right.

We stack one lie on top of the other.

But we think that
if they're all mixed up in a big pile,

that the lies will become true.

Just because we end up believing them.

I just did what I felt.
I didn't do it against you.

Oh, you did what you felt?

Mm.

You followed your instinct.

Yes.

So like an animal.

[sighs]

Then do me a favor and tell me something,
because I'm getting a little confused.

Are you a woman or an animal?

I miss you.

I miss our dinners.

Why don't you come see me in Posillipo?

In that sh*thole you call your home
or that cesspool you call a beach?

I'm not coming again. Ever.

[footsteps approaching]

- [Andrè sighs]
- Hi, Costà.

[Nella] Mmm.

Hey, there.

Here we are.

We're still a nice crew, aren't we?

Let's make a toast.

To those who hate us.

[Andrè] No way we're toasting to that.

To the four of us.

- To the four of us being here together.
- [chuckles]

All together again. Cheers.

Cheers.

[woman humming "Fischia il vento"]

Oh my God,
the wine here is always disgusting.

[Mariano] Yeah, it is.

[continues humming]

[all joining in]

[men shouting]

[procession continues humming]

[fiddle plays "Fischia il vento"]

THE SUN OF THE FUTURE

[in Italian] ♪ The wind is blowing
And the storm is raging ♪

♪ Our shoes are broken yet we must go ♪

♪ To conquer the red spring ♪

♪ Where the sun of the future rises ♪

♪ To conquer the red spring ♪

♪ Where the sun of the future rises ♪

[crowd cheering]

[crowd chanting]

♪ Each district is homeland to the rebel ♪

♪ Every woman sighs for him ♪

♪ The stars guide him through the night ♪

♪ Strong are his heart and his arm
When they strike ♪

[crowd sings along]
♪ The stars guide him through the night ♪

♪ Strong are his heart and his arm
When they strike ♪

♪ If we meet a cruel death ♪

♪ The partisan will enact
A harsh revenge ♪

♪ A harsh fate is now sealed ♪

♪ For the vile treasonous fascist ♪

♪ A harsh fate is now sealed ♪

♪ For the vile treasonous fascist ♪

♪ The wind stops
And the storm calms ♪

♪ The proud partisan returns home ♪

♪ His red flag blowing in the wind ♪

♪ We are finally victorious and free ♪

♪ His red flag blowing in the wind ♪

♪ We are finally victorious and free ♪

[Andrè] It's not only about suburbs.

The expressive energy of the country

comes from outside, from the periphery.

- Carlo Levi, Italo Calvino, Pasolini.
- Togliatti, Berlinguer, Ingrao.

- [crowd applauds]
- Hm.

As a matter of fact,
even Jesus came from the provinces.

- [crowd applauds]
- [chuckles]

You look so grotesque,
you're almost pretty.

[woman] So you're telling us
that the parallelism

isn't just downtown but in the suburbs

and also in the center of the provinces.

What I'm saying is that the cities are

where everyone thinks
the power and ideas are, okay?

And nobody admits
that this is only made possible

thanks to the energy coming from outside.

The influence coming from the suburbs
brings a fresh take on many things.

- Huh? A change.
- Yes.

Jesus has a fresh take.

The ethical power
of someone who is selfless

but who is also bringing new energy.

The aim is to impose a link
between who's in and who's out.

Isn't that the whole point, after all?

Not just the difficulties of the suburbs

but also the innovative potential
of innocence.

I'm from the Pascone neighborhood.
You might know it.

The place where you try to emerge from
is the hardest part.

And you'll always carry it with you
wherever you go.

[Mariano] However,
I think we shouldn't focus too much

on the new forces
emerging from the suburbs

but rather on the issues of the poor.

To see if there's
a point of agreement between,

well, a good Communist...

You know, as we might say today,
a good Communist and a good Catholic.

Both are after... well, the ability to...
care about the needy.

I think this could be a good point
of agreement between both of us.

We have to come up with solutions,
for example.

Uh, a question for you, dear Matese.

When Jesus kicked the merchants
out of the temple, was he just angry,

or did he have an objective too?

Hmm.

- Hmm.
- [chuckles]

It's common to address we Catholics
in a hasty fashion.

Like you say, "So what?"

"If God exists, why doesn't he solve
all the world's problems?"

Well, more or less, that's the question.

There's a Russian saying
that goes, "God knows the truth."

"He doesn't tell it right away."

The difference between Catholics
and nonbelievers is this.

We Catholics have a plan
that is long-term.

And in the Gospel,
if we read it with an open heart,

the plan is very clear.

[crowd applauding]

Thank you.

Nice.

Hey, good work.

[man] That's very good.

Nice to meet you.

Nice to meet you.

[pensive music playing]

[Giacomo] You were great, Robè.

People seemed to like it. Hey!

You were great.

- You heard it?
- Absolutely.

- Thank you.
- You did great.

- I'm so proud of you.
- Okay, good.

[Giovà] I've read the Gospel too.

All four of them.

What'd you think?

- They don't make sense.
- [Vittoria] Oh!

She thinks just like her father.

Like what? Enlighten me.

Jesus is the son of God.
He performs useless miracles.

He gets betrayed and put on a cross.

And also, he asks his father
to save him from the cross,

but God doesn't do anything
to spare him from the pain.

- [man] It's true.
- Why couldn't God come and suffer for him?

According to the Gospel,
God creates a world that doesn't work.

The crazy part is, he blames the failures
of this world on his son who's innocent.

- But why?
- God isn't easy.

Well, he should become easy
if he wants us to understand him.

- Do you like poetry?
- Yes.

- You read it?
- Sometimes.

Poetry's made of words.

Exactly like the chat
we're having right now.

If a poet takes our trivial words
and frees them from our conversation,

suddenly they will release from
their irrelevance an unexpected energy.

God manifests in the same way.

[man] That's a good point.

The poet isn't God.

He's just a person like us
who knows how to write poetry.

But it's this skill that opens your eyes.

- That surprises.
- [Giovà] If they're skilled, yes.

They will shake you. It's amazing.

And why should I believe in a shake?

- We'll explain some other time.
- For religious spirit.

What is the religious spirit?

It's like an investigation
in a detective story.

Except the mystery doesn't get solved.

That's what religious spirit is.

It's pushing forward. Always forward,
until you unveil what is meant for you.

I can't hear you.

[Roberto] Don't waste it all, Giovanna.
Just give it time.

The Gospels say way more
than what you've just read.

Roberto, we need to leave soon. It's late.

- I know.
- Let's go.

- [sighs]
- [Andrè] Giovà.

You were phenomenal.

I mean it. Well-done.

[Mariano] Remarkable.

- Seriously.
- [Giovà] Thanks.

[band starts playing]

"If we want things to stay as they are,
things will have to change."

Yes. But let's go now.
It's late, and tomorrow's a school day.

We'll go home and watch The Leopard.

My dad puts on The Leopard
and then falls asleep.

[Giovà and Andrè chuckle]

[Giovà] We should go too.

[man singing in Italian]

- Did you hear what I said?
- You were amazing!

I had to tell you right away.
I was so proud of you.

I swear, you were so amazing.

[Giovà chuckles]

[Roberto] Wait a second.

You put so much strength into words.

And you put even more into yours.

See you soon.

He has to go.

He'll miss the train for Milan.

- Bye, Angela. Bye, Tonì.
- [Vittoria] Giuliana! Will you hurry up?

- [Giuliana] Let's go.
- Move it!

- Bye.
- Bye, now.

- Kiss and say goodbye!
- [Roberto] Bye-bye.

Bye, my love.

Bring Giovanna when you come to Milan.

Okay.

- You made an impression.
- [chuckles]

- [Angela] I feel sorry for Giuliana.
- [Giovà] Why?

Uh, she's obviously bored.

But she fakes it to keep her place.

- Bye, Vittoria. Bye, Mom.
- [Margherita] Bye, honey.

[Giuliana] What now?

You're a little sl*t.

And you act like you're her friend.

- Vittò, what are you talking about?
- [Margherita] Vittoria, stop it.

Why are you getting between Giuliana
and her man, huh? You're a sl*t!

Don't say that! Vittò!

- Hey!
- Vittoria, please.

[Giovà] I'm not getting between anyone.

- You don't think so?
- Mom, please, shut her up.

- [Margherita] Calm down, please.
- Enough. Find someone of your own.

Little Miss Monster.

You showed off your feathers
like a peacock.

You said a lot of pretty words.

And that fool noticed.

And he was amazed by you.

You confronted him. And now he wants you.

Roberto already lives in Milan,

so it's already hard for her as it is.

And now you too!

Sure, Roberto lives far away,
but I know their love is clean.

- [sniffles]
- [Vittoria] Ah.

You're a poser, and I know it.

Giannì, you know nothing.
You know nothing!

Love is not something clean.

It's opaque.

Like toilet stall windows.

Giuliana, be careful.

You're just a simple girl.

And this is a f*cking snake.

- Come on.
- [Vittoria] I'm going.

- I'm going.
- [Margherita] Vittò!

- [Tonino] Okay.
- [Margherita] Don't run.

You'll stumble down the stairs.

- Let's go. The movie's starting.
- [Vittoria] I know what she's up to.

- We can try to have some laughs.
- [Vittoria] I can't believe her!

- That sl*t!
- [Tonino] Let's go.

[in Italian]
♪ Mother, wh*re, or bad copy of a man ♪

♪ This is a woman
In this part of the world ♪

♪ She was destined for this
Since she was born ♪

♪ If it's other people's heart in charge
She is doomed ♪

♪ Mother, wh*re, or bad copy of a man ♪

♪ She wished for more
From this part of the world ♪

♪ Being appreciated not only
For the boys she birthed ♪

♪ For this beautiful body ♪

♪ Or for the beatings I gave ♪

♪ Just because I was born a woman ♪

♪ I never put a lock on my heart ♪

♪ Just because I was born a woman ♪

♪ Just because I'm a woman ♪

♪ Do not forget, do not forget ♪

♪ Do not forget, because life passes by ♪

♪ Never forget yourself ♪

[horn honking]

- [man 1] Come on!
- [man 2] Hey!

- Get out of the way!
- What are you doing?

- What now?
- Watch out, or I'll run you over.

Hey, big head! Go get a shampoo!

[both laughing]

Look.

[indistinct chattering]

Hey, Giannì! You're at this sh*t show too?

What are you doing here? What do you want?

[Corrado] We're just here.
To disturb you a bit.

Well, Roberto already spoke.

Oh no, he did?
Rosario, we missed it. sh*t.

I told you to hurry!

Hey, Giannì.

Do you think you're better than us?
You don't know who we are.

- Oh, Corrà, I'm sh1tting my pants.
- Oh, very funny.

Rosario likes you.

Can Rosario speak for himself
without an interpreter?

He's actually very shy.

You stood up to him,
and now he's obsessed.

He can't shut up about your t*ts,
you know.

- I love someone else.
- Who?

I can't tell you.

All right, then you're a sl*t.

Maybe I wanna be.

Forget it, Rosario. Let's go.

- Look at all these Communists.
- That's true.

Why don't you just leave?

Why don't we leave together,
just you and me?

- Just what I had in mind.
- Giannì, I really like you.

Seriously, I'm in love. I mean, your t*ts...

[inhales sharply]

...are sweeter than the statues
in Caserta Royal Palace.

And you have teeth
like Don Chuck the Beaver.

- A lot of girls are after me, okay?
- Then why don't you date one of them?

Come on, don't be mean. It's not right.

Wait. Giuliana's there.

She can tell you about
my wonderful house with a view of the sea.

- Rosario, that's enough.
- Come on. Hey, hey!

Hey...

Are you in love with Roberto Matese?

- Are you crazy?
- Don't look at her. Talk to me.

- Do you want me to bring him here to you?
- You'd do that?

- It would be my pleasure.
- And he'll come.

Not right away,
but I can convince the guy.

That's ridiculous. We know Roberto,

and he would never do
anything he doesn't want to.

I can be very persuasive. Giannì...

- Giuliana!
- Let's go.

You shouldn't talk to that as*h*le.

[Giovà] I wasn't.
He was the one talking to me.

Did you really sleep with him?

You get to a point where you just want
to get it over with, Giovà.

- He's scary.
- Rosario Sargente?

- Yeah.
- [clicks tongue]

You're wasting your fear. He's a DA.

- What's "DA" mean?
- A dumbass! [laughs]

Don't listen to Vittoria.

And all her bullshit.

Vittoria says mean things,
but it's not bullshit.

And you speak well, Giovà.
But sometimes, you should shut up as well.

- But...
- Don't.

Angela, wait up.

Ah, Tonino, no!

Ugh!

- [whistles, makes kissing sounds]
- Hey, beautiful.

Hey, cutie!

[man 1] You haven't seen it?

[man 2] I love his work.
I just haven't seen this film.

MEDITERRANEAN CINEMA

Oh, yeah. Definitely.

[Angela sighs]

- Hey.
- Hey, Giuliana. For you.

- Here.
- Thanks.

- There.
- Let's go.

[making kissing sounds]

- [Tonino] There it is.
- [Giuliana] Where?

Right there.

[man] I have a seat for you here.

- Right here.
- Here.

Massimo Troisi is my favorite actor.

[man] Check out this girl.

[clears throat] Good evening.

Hey, beautiful.

Why don't you come sit with us?

- We'll show you a nice movie.
- [laughing]

[man] What, you laughing?

Hey, turn around.

Laugh at this d*ck. Come on.

[laughing]

[making kissing sounds]

- Yeah!
- Nice hair.

- Oh, yeah.
- Yeah. It feels like silk.

They're bothering me.
Will you do something?

Angela. Let it go.

Come on, let's move to the front row.

- Let's go.
- [man] Really?

Tonino, that's it. I'm so done with you.

Wow! Leave that dickhead
and come sit with us.

[Angela sighs]

- [whispers] See?
- [man laughing] We scared them.

[Tonino sighs]

[breathing heavily]

[instrumental music plays]

MAURO BERARDI
PRESENTS

A FILM BY MASSIMO TROISI

SORRY FOR THE DELAY

Let's move.

[man 2] Hey, what are you doing?

What the hell?

- Hey. Move.
- Hey.

- Stop!
- Oh my God.

[man 2] Hey!

- Move.
- What the f*ck? Sit down!

Yeah, you.

- [sighs]
- Here we are again. Miss us?

Do you take orders from this as*h*le?

- We want to watch the movie with you.
- Hear that? He called you "as*h*le."

- as*h*le.
- Tonino, did you hear?

Wake up, Tonì!

- [grunts]
- Ooh!

- Let's just go.
- Are you okay?

Hey...

- [yells] Piece of sh*t idiots!
- [laughing]

- Busting my ba*ls! You think you're funny!
- Stop! Calm down, Tonino.

Oh no, we're so scared!
You take it out on girls. Try me, b*tch.

- [Giuliana] No!
- I'll k*ll you!

- I'll k*ll you!
- [Giuliana] Stop!

[men grunting]

[Giuliana] Stop it!

Tonino, stop!

Tonino, stop it!

You're hurting him!

- Stop.
- Enough.

- Stop it!
- Go!

- [woman] Hurry up.
- [indistinct chattering]

He did a good job. You asked for it.

[coughing]

[man yells] The police are coming!

[Giovà] Let's run!

You know what? You're a shitty woman.

How dare you?

You're a selfish b*tch, you know that?

You don't give a f*ck about anyone.

You started this,
now you want to run away?

How dare you say that, you b*tch?

Angela, shut up,
or I'll tear your hair out!

Try it b*tch! Try to do it!

- I'll scratch your face, you hear me?
- Stop it, girls.

- You're trash!
- Angela, you're going too far!

- I'm going too far? What about this one?
- [siren blaring]

- This one?
- Go back home.

- Tonì, let's go.
- Enough. The police are coming.

- Me?
- [Giovà] Come on, move!

[ducks quacking]

[both panting]

[Tonino] Giannì! Stop!

Stop!

Oof! [gasping]

- You okay?
- [panting]

What is it?

- Giannì, I'm leaving.
- [siren wailing]

- Where to?
- To Venice.

My life here is done now. You saw it all.

- But when?
- Now, this very moment.

- Does Giuliana know?
- No.

She doesn't.

No one does.

Does Roberto?

If he knew what I did tonight,
he wouldn't even look at me.

Send me your address.

When I have one, I'll write you.

Why are you telling me this?

You understand me.

Bye, Giannì.

Everything is lost between us.

You don't love me anymore.

Nothing is lost. It just finished.

Then will you kiss me?

We're not kids anymore.

[man whistling "Fischia il vento"]

[fiddle plays "Fischia il vento"]

[both laughing]

Roberto asked
if you could come with me to Milan.

[band joining in to "Fischia il vento"]

[chuckles]

["Fischia il vento" continues]

BASED ON THE NOVEL OF THE SAME NAME
BY ELENA FERRANTE

[electronic music playing]

[female voice in Italian, echoing]
When you're little, everything seems big.

When you're grown-up,
everything seems small.

Each to their own.

Nobody knows.

Nobody knows.

Each to their own.

Nobody knows.

Each to their own.

Nobody knows.

Each to their own.

Nobody knows.

Each to their own.

Nobody knows.