The film title, Gomorra, is both a word play on Camorra, the mafia gang name in real life, and reference to Sodom and Gomorrah in the Old Testament, the towns that were inhabited by grievously sinful people and destroyed by God.
As I take in the non-linear narration, I recalled the recent news that I read of the Italian Prime Minister's alleged mafia connection. It certainly provided an additional dimension and context in reading the film. Especially so as the director adopted a style of fusing fiction with reality, aided in no small parts by the performances of the actors, the on-location shooting and fantastic cinematography and sound engineering.
Italian cinema is, afterall, renowned for its Neorealism school.
Particularly impressive is the crane-shot sequence that tracks the informant as he hurried away from a gang-execution scene. As the camera followed his escape, the on-screen sound faded in and the audience see and hear the bustling daytime traffic that is just feet away from a bloodbath location.
Gomorra was touted by many critics at end of last year to win this year's Oscar for Best Foreign Film, along with Walt With Bashir. I have seen Walt With Bashir and also Departures, the winning entry. And although I am a big fan of Japanese cinema, I feel that Gomorra, though it was not even in the shortlist, is the most accomplished of the three.
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