The last Kiss is a film about the stories of eight main characters, whose lives connect in rhythmic and parallel passions. They are all different ages: Francesca is eighteen and during the film she falls in love with Carlo, who is now thirty – like his friends Adriano, Alberto and Marco. Marco, in turn, is with 27-year old Giulia, the romantic and idealistic mother of his unborn son. Giulia’s mother Anna, now in her fifties, with twenty-nine years of marriage behind her and a great fear of aging, is coming to accept the end of her youth. international title: A quasi dieci anni dall'uscita del film che ne ha decretato il successo a livello nazionale ed europeo, nella primavera del 2009 sono iniziate le riprese di Baciami ancora, sequel del film. Il film è uscito il 29 gennaio 2010. Nel cast sono stati riconfermati Pierfrancesco Favino, Claudio Santamaria, Stefano Accorsi, Giorgio Pasotti, Sabrina Impacciatore, Marco Cocci e Daniela Piazza. Gabriele Muccino's direction ensures that the movie manages to touch the audience's hearts while keeping a light and humorous tone throughout. The director's portrayal of the conflicts within relationships and the societal pressures facing young couples makes L'ultimo bacio a film that feels both realistic and relatable. It must be a generational thing. The Last Kiss, a tale of thirtysomething males dithering between responsibility and the open road, is a likeable but fragile film, with little emotional depth. Very much of its time and place, the film is a superficial paean to Muccino's superficial contemporaries: the clean-shaven, financially buoyant, recreational-drug-using, mobile-phone-dependent generation of 30-year-olds which inhabit the smarter suburbs of metropolitan Italy at the beginning of the new millennium. There is a light comic touch about some of the dialogue, but Muccino labours rather too much to create plot mirrors and character contrasts. His story mechanics are in such need of oiling: we can practically hear the cogs squeaking. I pointed out the structural similarity to Paul Thomas Anderson's 1999 masterpiece, 'Magnolia'. However, there is more than just a passing resemblance. 'The Last Kiss' is obviously inspired by it's predecessor. It looks and sounds a great deal like that classic. The camera movement is energetic and dynamic. There are a ton of complex 'steadicam' scenes. The score is that anticipatory and frenetic string ensemble that allows us to flow from moment to moment as the editing shifts us from one storyline to another. In fact, the scores are so similar that I initially thought it had been borrowed. The way I see things, if you are going to emulate a film, you can't do much better than emulating 'Magnolia'.

Nel film del 1990 Pierino torna a scuola, il protagonista e un suo compagno di classe assistono in una piazza di Roma alle riprese di un film chiamato proprio L'ultimo bacio. Il film ha incassato 13 milioni di euro al botteghino (dati Cinetel), rimanendo per ben sei mesi nelle sale cinematografiche, fatto che nel cinema italiano non avveniva da tempo. Nel 2002 il film ottiene un buon successo anche all'estero, in particolare in Europa. Distribuito anche negli Stati Uniti durante l'estate successiva, è inserito dalla celebre rivista di cinema Entertainment Weekly tra i dieci migliori titoli dell'anno. Muccino's prowling, restless camera and insistence on underscoring every scene with lush mood music are annoying embellishments, and he could have tied up the various plot strands with less indulgence. Still, this is an intelligent and dark-edged romantic comedy that offers a bracing antidote to Love Actually's treacly sentiment.Originariamente i protagonisti dovevano essere Kim Rossi Stuart e Claudia Pandolfi, ma sia l'uno che l'altra rifiutarono e il regista scelse Accorsi e la Mezzogiorno fra i quali in quel periodo era in corso una relazione anche nella vita reale. impending parenthood and goes hunting for one last conquest. But familiarity does not breed contempt in a good-looking movie that takes a perceptive and often caustic look at the agonies and ecstasies of modern relationships. Carlo meets up with a former classmate named Marco, and their conversation triggers deeply buried feelings and memories about youth, passion, and adventure. Marco reveals that he is still living the same carefree life that they used to live, characterized by wild parties, drugs, and one-night stands. Stars: Stefano Accorsi, Giovanna Mezzogiorno, Stefania Sandrelli, Martina Stella, Giorgio Pasotti, Claudio Santamaria

The film's motto is voiced by one of the characters: "We're not 20 anymore; but we're not 40 yet either, thank God." (Hey guys - it's really not that bad). In a sanitised upscale Roman suburb that would not look out of place in a TV ice-cream advert, Carlo (Stefano Accorsi, who made his name in a TV ice-cream advert) is getting cold feet. His girlfriend Giulia (rising diva Giovanna Mezzogiorno, who is Accorsi's real-life partner) is pregnant, and Carlo's just met a much younger girl at a party. His male friends are not much help: one already has a kid, and feels trapped; another is driven to distraction by a crumbling relationship and his family's expectation that he will take over his ailing father's religious souvenir business; a third is enviably single.

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But a short-term fling with Francesca comes with serious consequences that threaten to damage his three-year relationship with Giulia, who is expecting a baby girl. At the same time, it also dashes the idealistic hopes of Francesca, who dreams of a beautiful future with him. After a raucous quarrel in the night, Carlo goes to Francesca's house, where they have sex. However, the morning after, reality sinks on Carlo and the enormity of what he had done surfaces. But it is not easy for Giulia to forgive, or to trust him again. Carlo's premature midlife crisis is mirrored by Giulia's mum Anna (Stefania Sandrelli), who reacts to the news that she's to become a grandmother by leaving her dull hubby and igniting an old flame. Only in Italy would infidelity be a remedy for marital disharmony. But it's to writer/director The film is about the power of love, loyalty, and friendship, as well as the complexities of modern-day relationships. L'ultimo bacio explores the difficult choices people make when they have to choose between settling down and living their wildest dreams. The movie highlights how the pressures and expectations of society can force people to make difficult and life-altering decisions. Con questo film si rivelò definitivamente una nuova generazione di attori, tutti più o meno coetanei, tra i quali Pierfrancesco Favino, fino ad allora sconosciuto [1] Accoglienza [ modifica | modifica wikitesto ] Gabriele Muccino's credit that the status quo is not restored without a convincing display of raw emotion and fiery Mediterranean temperament - Mezzogiorno proving that hell hath no fury like an expectant mother scorned.