omertà, which only makes Chiara more frustrated and more curious. Carpignano and cinematographer Tim Curtin, who also shot “A Ciambra,” keep the audience locked into Chiara’s subjective experience.
Curtin’s handheld camera roves over the faces of Chiara’s friends and family, even drifting out over the horizon at times when she feels lost and confused.
As the plot takes off, the camera starts to follow her, keeping up with her bobbing ponytail as she moves around the city, banging her way into spaces where she’s not allowed and demanding answers.
We’re always a bit behind, trying to keep up with the conversations, relationships, and details, mimicking the process that Chiara is going through herself as she tries to glean information about her father from her community, which has become dangerous and untrustworthy.
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