Veteran writer Gianni Di Gregorio makes a challenging yet rewarding leap from writer to director in an insightful and moving debut feature entitled Mid-August Lunch (Pranzo di ferragosto). Gianni plays himself here in a semi-fictional setting of a what-if scenario similar to what Larry David does on HBO’s Curb Your Enthusiasm.

Gianni, a 60-year-old bachelor living with his 93-year-old mother (Valeria De Franciscis), enjoys the simple life while planning to celebrate August 15th, a significant date for all Italians -- for it’s “Ferragosto,” a national Italian holiday when all businesses close up shop and everyone leaves town.

But not Gianni. After buying a couple bottles of alcohol, and matter-of-factly picking up a fan from the local dumpster (which is quite common in European countries), Gianni comes home to his mother to prepare for a day of relaxation. Unfortunately, it turns out that Gianni has not paid his condo dues for some time, and he’s now being charged a hefty fee. This news is revealed to him by the condominium administrator, Alfonso (Alfonso Santagata). What a coincidence to break this news right before the start of the holiday! It seems Gianni isn’t the only one living with his mother. As a matter of fact, Alfonso also has his mother for a roommate, and at the age she is now, he doesn’t want to leave her alone. Hence, he cuts a deal with Gianni, promising to waive the condo fees if Gianni hosts his mother for the night. Talking it out with his mother, Gianni agrees, seeing that this as an opportune way of avoiding the fees.

The following day Alfonso brings his mother to Gianni’s apartment. But wait… Alfonso also brings Aunt Maria, explaining that she is too old to be by herself too. Now Gianni has not one, but two guests to manage.

Gianni’s poor mother, besieged and disgruntled, looks upon this as due diligence. But  there’s more! Gianni’s doctor (Marcello Ottolenghi) also has a surprise; want to take a guess? That’s right, he too has a mother he cares so much for he doesn’t wish to "leave behind," so he asks Gianni to care for her as well while he leaves town. The good doctor, being the kind man that he is, gives Gianni and his mother some extra personal care, bartering his way, and Gianni gives in.

This of course turns into a full house, and becomes something more than both Gianni and his elderly mother have bargained for. Despite all the tension and confusion, something magical happens to the characters in this humanistic film -- they begin to enjoy each other's company.    

While filmmaker Di Gregorio was not present at the screening I attended, renowned film critic and journalist Giulia d’ Agnolo served as guest speaker. In my interview with her, Giulia described the film’s “graceful flow” as natural, partially due to personalities and characters the writer/director included in his film.

The filmmaker’s evident inspiration for the style of production came from Italian Neorealism, and every element of the movie rings true to that style. Most of the actors are non-professionals and personal friends, including Gianni’s mother character (Valeria De Franciscis), who is his friend’s mother. The handheld camera and the long, uncut takes defining the structure of the film maintain that stylistic continuity. And finally, the location is Gianni’s own apartment, so like most Neorealist films, it adds a strong sense of working-class reality to the movie.

What was writer/director Di Gregorio’s goal? I believe he wanted Mid-August Lunch to show life in all of its imperfections through the lens of a camera, making us think about the inevitability of aging while appreciating its bitter-sweet journey. Mission accomplished.

(Garnering the Best First Feature Award from the London Film Festival, Mid-August Lunch was funded by producer Matteo Garrone for a tight budget of €500,000. Released by Zeitgeist Films; not rated by MPAA.)