Gianfranco Rosi has made a movie that could be thought of as the last of a conceptual trilogy about normal life and spiritual life in Italy: the first was his Sacro GRA from 2013 about Rome, for which Rosi won the Venice Golden Lion; the next was Fire at Sea about the migration crisis as experienced in Lampedusa in Sicily.
Now there is Below the Clouds, in luminous black-and-white. It’s another of his brilliantly composed docu-mosaic assemblages of scenes and tableaux, shot from fixed camera positions without any camera narration.
