This is a gentle, genial reflection on the ever-changing mutual dependence of cinema and daily life. Shot mostly in Turin’s Mole Antonelliana, it’s an amalgam of real-life snapshots and Jules Et Jim melodrama, whose references to film history will delight those unwilling to consign the silent past to nostalgic oblivion.
However, the love triangle between fugitive burger waitress Francesca Inaudi, womanising car thief Fabio Troiano and Buster Keaton-besotted museum caretaker Giorgio Pasotti gets somewhat lost amid the clips and exhibits. Consequently, there’s no credible spark between the sassy Inaudi and the bashful Pasotti, and their romance (following her viewing of his naively voyeuristic home-movie) is perhaps too much influenced by a long-lost flickering innocence.