摘要：Nanni Moretti’s La stanza del figlio/The Son’s Room (2001) reveals the effects of a child’s death on the protagonist Giovanni (a psycoanalyst played by Moretti) and his family. This film appears after Aprile/April (1998), which narrates both the birth of the director’s son Pietro as well as the Italian electoral campaign in 1996 in the month of the title. The arrival of a biological son followed by the death of a fictional one in Moretti’s oeuvre suggests greater implications for the parent-child relationship in Italy. This phenomenon also comments on the relationship between generations of Italian directors. An examination of Moretti’s earlier autobiographical film Caro diario/Dear Diary (1994) gives insight into this director’s relationship to other artists and also suggests implications for the future of Italian filmmaking.
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