As the series began with the eponymous book and later a film that revealed Matteo Garrone as a sort of "San Sebastian" of an increasingly decadent Italian cinema, "Piranhas" is again an elaborate and crude criminal tale that focuses on a sense of formal realism and an engaging pessimism throughout its setting.
Giovannesi attributes his mark, potentially a belief in luminous futures even in obscure and dead-end alleys, so worthy of the "innocence" of the most immature, yet aware of the siege that penetrates this ingrained system. Thus, relations between these "petty criminals" tend to swing in a replicated "Lord of the Flies" wind or even to the inconsequence of a collective activism of Walter Hill's "The Wild of the Night" (1979).
"Piranhas", that is to say, a "mafia film" focused and architected under the fanciful perspective of young people (being largely "non-actors" from Naples), optimism based on the will to live, , by the common mortal sins (the consumerism).
This is an ambitious work that confirms the Mafia universe as the fruitful orchard of a constantly stripped-down Italian Cinema.
"Piranhas: The Boys of Camorra": in theaters on June 13.
Review: Hugo Gomes