the gist of my too long ramble below be there probably be and at least definitively within the film and no answer to the why . of matteo and and that nicola a he age increasingly embrace the status quo . blame inevitable age and if you like and but it doesn not happen to their mother . way back and among some finish and unfinished novel that migrate to each computer i buy but that otherwise i no longer bring myself to look at and be one in which my myshkin like protagonist lie up a minor tragedy to cause his various acquaintance who have nothing to do with one another to show up at one place at the same time . the russian myshkin couldn not lie and of course and but mine do . just to see and i guess represent a sort of wish fulfillment and curiosity that kill the cat or make the student mind viable or keep the oldster young and nimble . lying be storytelling be lie . the act of write allows and or allow and me and play god just like that character of mine and to introduce to one another version of people i know but whose path never cross otherwise . a tragic and now late and slow guy from work somehow occupies my vacation vacant condo and hit it off with my garrulous but uneducated father . that kind of thing . or and a myshkin and i grab one or another misplace acquaintance and long go well before my mountaineering day and and march her way above the timberline to some icy col only to play at not know the way back down while sweet panic and thunderhead well . i do not want to get into most la meglio gioventù maybe merit and the pacing and rhythm gain by extraordinary length and the credible aging and acquisition of time wisdom and whether for growth or stagnation and in most the character and the relatively quiet interpolation of pass history . but the sadly heavy hand and grossly unnecessary insertion of matteo ghost into the closing scene between nicola and mirella make me realize what an orgy of wish fulfillment the second half be . suddenly and seemingly because life or time heals but maybe just so the filmmaker could resolve thing for u and nearly everyone meet everyone . even at six hour and a story tick need it tock . whether or not director giordana and his writer intend the nearly dead center division and part one tick and and then part two tocks . if this be more than just a really and really good soap opera and then there have to be ambiguity and loose end and disappointment that come more from life constraint than from audience need for reassurance and resolution . why and other than to create suspense and do nicola deny giorgia need be involve in find mirella . he suddenly so uncharacteristically lack in empathy . if he hurt over matteo and then he selfish . if he just be professional and then be deny his rationale . i can easily dream up justification within nicola character and but and watching and i sense a filmmaker struggle to twist an end out of event that in reality must fractal along indefinitely . with possible exception of nicola mother and perhaps his too young yet and barely form though marriageable and daughter and mirella seem the sane creature in the film and fate gift to this at least slightly askew family . have nicola even tell her about giorgia and and in what term . inevitably she will meet giorgia ( tiny piece of a six hour sequel . ) and but the film deny u the experience . matteo so ever present and and all the more so a the film progress and in no small part because of giorgia obsession and that that bit of magic realism offend me a a viewer . don not plaster on the screen what already there represent do not double image . besides and i be not at all certain the living matteo would have be so generous . the sequence suggest suicide a path to peace of mind and a return to balance or to freedom from self ( what . do matteo reach enlightenment . aurrgh . ) and but no one can know this . be the filmmaker say that matteo by self abnegation and self destruction and restore balance to his family . probably not and but how cruel the suggestion . even so matteo the glue here and the macguffin and a key of some sort . i have sit through enough director q and a to suspect there may be no explanation . ambiguity a storyteller tool . ambiguity and red herring and in story not by genre mystery cue ineptness from hack and but deliberation from pro . matteo case abound in red herring . despite the transvestite and i do not think he gay ( all i saw in the episode be self loathing and and nowadays they would have simply told u so while the day he first flirt with mirella and despite his hold back and he seem no less enthral than nicola will be later ) . despite the cop stuff and the look and the gun and i do not think he political ( they could have involve him against nicola terrorist love but do not while nicola though and by survive so wholeheartedly within the status quo do come off political ) . surely each of u and a i think the filmmaker intend and will find a different key to matteo . empson and write about ambiguity and usually say not that one or another reading be it and but that all be present and in play . matteo mystery allow the filmmaker artifice to breathe . if i see any clue and it lie way back and the day or two with giorgia and when she and if not he and know him already a soul break in some way that her experience have teach her to understand . whatever be wrong with him likely be already wrong then . i do not know what it be and but banish from the film close the first and only character who get it seem to doom the whole family and if only in the sense of their not get it about matteo and giorgia . it seriously undercut that silly ghost matteo scene . i know too little to speak but recall vaguely that there may be a genetic tendency to suicide represent sort of a no fault clause . luigi lo cascio a nicola and incidentally and look like both jean pierre léaud and dustin hoffman and but and even say that and i can not see that those two ever behave quite alike .