I was genuinely ecstatic to see Sophia Loren on my screen. A beautifully seasoned actress. Like, I felt as I did when I saw Harry Belafonte in “BlackKklansman.” I’m enamored by her and her longevity in this medium spanning generations. Seeing her dance in this film brought back memories of watching her during the Flamenco scene from the 1957 film “The Pride and the Passion.”

 

“The Life Ahead” follows Momo (Ibrahima Gueye), a 12-year-old Senegalese kid who was raised in Italy and lives with the neighborhood physician, Dr. Coen (Renato Carpentieri). We’re introduced to him as he scopes out a local bazaar where he steals antique candlesticks from Madame Rosa (Loren), a former working girl who runs a daycare to support the children of other working women. Dr. Coen negotiates a deal with Rosa to temporarily take in Momo, which leads the two to form a complicated bond.

Identity is an understated focal point of the characters’ narratives. Momo, real name Mohamed, is a Muslim with no specific understanding of his Senegalese heritage, except knowing the name of the city where he was born. He is connected with a local grocer who gives him a job and fosters a kinship to teach him about his background.

Madame Rosa teaches Hebrew to one of the other boys she’s fostering named Iosif (Iosif Diego Pirvu) to prepare for his bar mitzvah. He rejects the idea, but continues his practice. While helping Rosa with chores, Momo discovered that she’s a Holocaust survivor, a fact that doesn’t immediately connect for him. His innocence and ignorance of her brutal history added to the humanity of the screenplay, which became even more breathtaking as the film progressed.

During the climax, Momo and Rosa share one of the film’s most intimate moments. Her health worsens, and she asks him to keep her away from doctors.

The fear emanating from her expressions was palpable.

I had to pause.

🥺

She wanted to ensure her safety because she could remember the trauma of human experimentation during the Holocaust…when she was around Momo’s age. So, she pleaded for safety. And she wanted Momo’s promise.

Just—a waterfall of tears, bruh. 😭 😭 😭

Enough for me to curl into a ball and sob.

THEN, THEEEENN when Iosif leaves, and Momo has to pretend like he DGAF, Rosa consoles him…😰 And there’s the “we got this shit” interlocking fingers hand hold. With a beautiful ass score!! Ughhhhhh! 😢🥺😩 An inconsolable wreck, bruv. It me.

A whole baby. 👶🏾

The director, Edoardo Ponti, did a good job of interweaving the strands of Momo’s reality. The time code balanced Momo’s multi-faceted identities as a grocer’s apprentice, a street pharmacist, and the primary caregiver to his primary caregiver. One stylistic thing that turned me off was the quick transitions after moments of heightened emotion. There was no dust-settling, just a tonal shift that felt jumpy.

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The cinematography was breathtaking. Those Sony Venice cameras seemed to capture every single one of Momo’s hair follicles, and every crease in Rosa’s hands—simply beautiful. The picturesque shots of Italy’s seaside during Moma and Rosa’s adventure through the city were lovely. Gorgeously sharp.

 

Omg, and the conclusion! The imagery and symbolism of the police trying to locate Rosa and Momo mirroring Gestapo tactics. Goosebumps.

Bro, heal my soul with beautiful art like this forever.