Written and directed by Antonella Spirito, the blossoming young love between two teenagers is brutally disrupted by retreating Nazi soldiers who occupy their small village in rural Italy. Starring: Matteo Accardi, Brian Bususu, Beatrice Buticchi, Claudia Cara, Giovanni Garone, Simona Lamorgese, Annalisa Lori, Mirt Marella, Renato Paioli, David Paryla and Claudio Pellerito.
When a filmmaker creates something that’s built upon a very personal foundation, a film can often both benefit and be hindered by that strong connection to the material. In the case of The House That Stood, it adds a lot of sweetness and a big heart but can also make it feel over-sentimental or simple. It goes for a ‘love conquers all’ style atmosphere and it works in some ways but doesn’t in others. The romance is there but it doesn’t feel like enough to sustain the film.
The focus feels like it wants to be wider, as if it’s on the cusp of trying to encompass the larger issues of what home means, heritage, war and sacrifice but never gets there. That then leaves a missing element, especially when the plot doesn’t have a lot of turns to add into the mix. It also struggles with the presentation of this relationship, it can feel one-sided, portraying it through the eyes of Camillo’s (Matteo Accardi) intense affection, while not showing much of Bianca’s (Simona Lamorgese [younger] & Beatrice Buticchi) feelings.
Also employing the use of archive footage doesn’t always match the tone of The House That Stood, although it does raise an interesting question of what this film might have looked like as a documentary rather than a drama. Antonella Spirito’s initial directorial style presents a charming simplicity, a very classic air that encompasses both its wholesomeness and the disillusionment of war. However, when things are then switched up as the story’s timeline jumps forth, it doesn’t quite feel as strong, becoming much more everyday.
One of the elements that is surprisingly captivating but doesn’t take up a great deal of the story is the friendship between Camillo and Mario. In some ways it’s almost stronger than the romantic aspects, they have a great banter and chemistry which is enjoyable to watch. Especially in how it grows as the characters age, Mirt Marella and Claudio Pellerito do a wonderful job of expanding Camillo and Mario, creating relatable personalities.
The House That Stood explores the resilience and staying power of young love but misses out on exploring the larger issues at its fingertips. The use of black and white creates a strong feel of classic cinema, building a wholesome atmosphere but when it changes into colour, it loses some of its depth. The intention is certainly there and it has its strengths and weaknesses but it feels like the romance wasn’t enough of a driving force. It’s a lovely story but there was potential for something more impactful and complex if it had widened its focus and taken in the bigger picture at the same time.
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