It doesn’t seem like a very Christmassy theme, but it’s very relevant. Filmin could not have chosen a better date for the premiere of Exterior Noche, Marco Bellocchio’s mini-series about the kidnapping of Aldo Moro in 1978. It was broadcast in Italy in November and a month later it is available in Spain, coinciding with the whole thing Hustle and bustle about the Constitutional and mentions of Montesquieu’s mother. Bellocchio, who knows a great deal about Italian history and politics in his cinema – and even more about Aldo Moro: it is the second work he dedicates to him – has composed a masterful, extremely lively series that exudes the air of tobacco smoke and the damp cord of years more barbaric than leaden. It’s inevitable that this work, by Italians for Italians, will lose some of its relevance when imported into Spain, where Aldo Moro isn’t part of the landscape or the folklore of conspiracy theories, but it’s not necessary to have grown up with the miss of the Red Brigades to get the most out of the series.
He said it was published at an opportune moment, when the two Spaniards roar and show their antlers, when metaphorical trenches are being dug and those who remain in the middle risk falling from crossfire (metaphorically) and even friendship Fire. Aldo Moro’s tragedy is taking on a somber tone these days. Moro, the politician who wanted the impossible, who worked for consensus, who insisted on governing with the PCI, ended up in the trunk of a car. They say that anyone trying to settle a fight takes all the beatings, but in this Christmas peace I can think of no better soothing tool than to meditate on Aldo Moro and the virtue of upsetting loved ones as much as others.
Well considered, it was an appropriate subject to congratulate them on the holidays.
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