Robbing Mussolini
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- Renato De Maria
- Federico Gnesini
- Valentina Strada
- Matilde Barbagallo
- Angelo Barbagallo
| Robbing Mussolini | |
|---|---|
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| Italian | Rapiniamo il Duce |
| Directed by | Renato De Maria |
| Written by |
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| Produced by |
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| Starring | |
| Cinematography | Gian Filippo Corticelli |
| Edited by | Clelio Benevento |
| Music by | David Holmes |
| Distributed by | Netflix |
Release date |
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Running time | 99 minutes |
| Country | Italy |
| Language | Italian |
Robbing Mussolini (Italian: Rapiniamo il Duce) is a 2022 Italian historical comedy-drama film directed by Renato De Maria.[1][2]
Milan, April 1945. The city, now in ruins, burns under the bombings. The Resistance and the Allies are about to definitively wipe out the remnants of a fascist regime now ready to flee, and the only thing everyone wants is to survive. Isola, a black market smuggler, knows this well. He and his companions, Marcello and Amedeo, try to save their skin while selling weapons to the partisans. His fiancée Yvonne, a singer, also knows it. She is forced to endure the attentions of Borsalino, a ruthless fascist hierarch ready to flee to Switzerland with Benito Mussolini's gold in the event of the regime's defeat. The same gold that Isola has set his sights on stealing to turn his life around and because, as a thief, it's the only thing he's good at.[3]
Cast
- Pietro Castellitto as Pietro Lamberti "Isola"
- Matilda De Angelis as Gianna Ascari "Yvonne"
- Tommaso Ragno as Marcello Davoli
- Isabella Ferrari as Nora Cavalieri
- Alberto Astorri as Molotov
- Maccio Capatonda as Giovanni Fabbri
- Luigi Fedele as Amedeo
- Coco Rebecca Edogamhe as Hessa
- Maurizio Lombardi as Marquis Camillo Serbelloni
- Lorenzo De Moor as Ahab
- Luca Lo Destro as Maghreb
- Filippo Timi as Federal Secretary Achille Borsalino
- Giorgio Antonini as Leonida, Borsalino's henchman
Reception
In his review for Cineuropa, Davide Abbatescianni defined the film as "another missed opportunity." He highlighted how "the acting performances, which are all sadly below par, are heavily constricted by weak writing when it comes to character construction, and superficial when exploring conflict," adding that "the film’s narrative subplots are disappointingly predictable."[2]
