An Italian family drama is as warm and familiar as taking a walk in the sun. It’s something that everyone can appreciate in some capacity and (for the most part) can come home having somewhat benefited from it. Ferzan Ozpetek’s latest offering is no exception, exploring themes of homosexuality and social norms as he’s known to do (2003’s Facing Windows an example). With a fluid and comedic style comes a film that understands its place in Italian society and doesn’t expect any less than complete competency from its audience.

Ozpetek’s fixation with portraying gays in society sees Loose Cannons centre on Tommaso (Riccardo Scamarcio), who’s afraid of being forced to settle with the family company in southern Lecce and plans to out himself in front of his family – and a gossiping business associate. But the plan goes awry, leaving him no choice but to delay returning to Rome and his boyfriend Marco (Carmine Recano). Tommaso’s depression turns to uncertainty throughout the film as Ozpetek weaves his insecurities with that of other family members – the drunken Aunt Luciana (Elena Sofia Ricci), traditionalist father Vincenzo (a very entertaining Ennio Fantastichini), forgotten sister Elena (Bianca Nappi) and reminiscent matriarch Nonna (Ilaria Occhini). He makes sure not to focus on Tommaso alone as to suggest that sexual preferences make no difference to how we deal with problems in this world. That’s not to say southern Italy is overly acceptant of gays even today – but what Ozpetek does so well is play on their stereotype and acknowledge that there is still slight hostility. Using that to comic effect certainly works in his favour, with some of the biggest laughs arising out of the introduction of Tommaso’s friends.

Loose Cannons as a dramedy envelops the viewer into the lives of these people, never letting you settle for long. Moving between riotous family arguments and soul-searching, it’s just as about the family as a whole and how one decision can shape even the smallest cogs in the machine. Ozpetek uses beautiful shots to portray the constant whirlwind that the Cantones find themselves in, with an entire scene in one fluid movement made out of a simple backyard sitting part of the engrossing cinematography from Maurizio Calvesi. Ozpetek also creates a character through the music, the score by Pasquale Catalano providing an interesting blend of music from times past and present. His knowledge of when to let music talk over words brings a viewing of a different kind – as does, funnily enough, his use of cakes. From a Turkish-born director he knows the Italian way all too well, and presents what even international viewers can accept and respect – a story of suppression, but the knowledge you’re all worth something else, something more. That your decisions may define you (and generations after), but how much you let them is ultimately your choice.

Verdict

Italians are recognised as being Loose Cannons, which works in favour for Ozpetek to tell another intriguing social tale.

Loose Cannons screened as part of the Lavazza Italian Film Festival 2010 across Australia.

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