Skip to main content

Director Gianni Di Gregorio explores relationships in later life with 'Never Too Late for Love'

In “Astolfo” (“Never Too Late for Love”), director Gianni Di Gregorio delivers a coming-of-age film for the golden years of life about a retired professor who leaves Rome to return to a tiny mountain village in Abruzzo.

The film opens with the title character, played by Di Gregorio, walking through the streets of his Roman neighborhood, groceries in hand, only to find his landlord waiting for him when he arrives home. She is there to announce that he will have to vacate his humble residence to make way for her daughter, who is getting married soon. 


After some contemplation, he calls his ex-wife to ask her about an old family castle he split with her in their divorce. When she confirms that a portion of the castle is his for the taking, he gleefully returns to his spacious new home only to discover it has been occupied by a squatter, who turns out to be an acquaintance from his childhood who is also down on his luck. Without hesitation, Astolfo adopts the man as his roommate. 


In short order, he finds himself with two more roommates, all of whom are looking for companionship. But the real adventure begins when Astolfo’s cousin Carlo (Alfonso Santagata) picks him up in his midlife-crisis red sports car. The two meet Carlo’s lady friend for lunch, who brings another lady friend, Stefania, played by the beloved Stefania Sandrelli. Before long, Astolfo falls head over heels.


Di Gregorio has made an art form out of romantic comedies portraying aging, down-on-their-luck protagonists who undergo a personal transformation as they learn to play the cards that life has dealt them. His first romp with this storyline was his 2008 “Pranzo di Ferragosto” (“Mid-August Lunch”), and it proved to be wildly successful. Each of his subsequent films has been well-received by audiences of all ages.


Di Gregorio began his career as an actor in the ’80s and collaborated with director Matteo Garrone (“Gomorrah”) in the ’90s. “Pranzo di Ferragosto” was his directorial debut, and he has served as the protagonist in that and all his subsequent films. In 2021, he won a David di Donatello award for Best Adapted Screenplay for his 2020 film “Lontano lontano” (“Citizens of the World”), the story of four friends navigating the challenges of old age. In “Never Too Late for Love,” released in 2023, we once again have four friends, each with his own idiosyncrasies, who support each other and give Astolfo the push he needs to muster the courage to fight for what he wants.


Gianni Di Gregorio on the set of “Astolfo”


Stefania, a widow, is dealing with her own problems as she has taken on the identity of grandmother and permanent babysitter for her adult children’s children. Even when she tries to have her own life, doing something as simple as making a hair appointment, her son insists she cancel because she has to watch the kids. Stefania adores her grandchildren but longs for the intimacy of friendship and love that goes unfulfilled until she meets Astolfo. They are two lost souls who find each other when they need each other most.


A beautiful aspect of this story, and a quality found in all of Di Gregorio’s films, is the way his characters juggle their family obligations with the rest of their lives. They are aware of their personal shortcomings and disappointments and maintain the hope that they can still turn things around despite their age. His main characters are well into their 60s and 70s but harbor the desire to right the wrongs of their past. Often, they find themselves fighting the prejudices that society has for the aging, even in Italy, a country that respects its senior population. This is a common thread in many contemporary Italian films with characters of a certain age. Directors want to tell their stories and send a message that although folks age and perhaps can’t react as quickly as they used to, they are still living, breathing members of society who deserve dignity and respect. This is the essence of Di Gregorio’s films.


Click here to stream “Never Too Late for Love” on Amazon.

 

 

 

 

 

Comments

Popular posts from this blog

Anna Foglietta: Actress and Activist with Old School Elegance

One look at actress Anna Foglietta in her any of her roles, and the Golden Age of Italian cinema comes to mind. Among Italy’s most sought-after actresses today, Foglietta brings to the table a classic eloquence of yesterday while representing Italy’s modern woman. Born in Rome in 1979, Foglietta began her career in 2005 with a role in the RAI television series La squadra . Her character Agent Anna De Luca had a two-year run on the series as she was transitioning to cinema with Paolo Virzì’s 2006 ensemble project 4-4-2- Il gioco più bello del mondo . Since then, she has become one of Italy’s most diverse actresses, transforming herself into interesting, layered characters for comedies and dramas alike. Aside from a small part in Anton Corbijn’s 2010 film The American starring George Clooney, Foglietta’s work began reaching mainstream American audiences in 2015. As Elisa in Edoardo Leo’s 2015 comedy Noi e la Giulia , Foglietta showed her funny side playing a goofball pregn

The Timeless Talent of Stefania Sandrelli

On screen since the tender age of 14, she has captivated audiences for more than 50 years with a compelling combination of strength and vulnerability. She achieved stardom at just 14 years old playing the angelic cousin of a love-struck Marcello Mastroianni in Pietro Germi’s “Divorce Italian Style.” More than half a century later, she is still going strong and remains one of Italy’s most esteemed actors. Stefania Sandrelli was born on June 5, 1946, in Viareggio in the province of Lucca in northern Italy. As a child, she studied music and dance. Then in 1960, she won a beauty pageant and was featured on the cover of Le Ore magazine. Her purity captivated the country and shortly thereafter, movie offers began pouring in. Just one year later, she made her cinema debut in three feature films: Mario Sequi’s Gioventù di notte , Luciano Salce’s The Fascist, and Pietro Germi’s Divorce Italian Style . She instantly became a star and before long was a key figure in Italy’s legendary

"Cinema saved my life" - A Portrait of Claudia Cardinale

Update May 9, 2016 It's just been announced that Claudia Cardinale will present her latest film, "All Roads Lead to Rome" in Niagara Falls, Canada on June 18, 2016 at the Niagara Integrated Film Festival   connecting with Canada's annual Italian Contemporary Italian Film Festival . In these times of reality television, internet streaming and 15 minutes of fame, there are few legends living among us. Actress Claudia Cardinale is one of those few. A truly unique and special person, Cardinale was born in Tunisia in 1938 to Sicilian parents. Her maternal grandparents were originally from the Sicilian island of Trapani, but settled in La Goulette, Tunisia, where there was a large Italian community. Her early life seems something of a fairytale but success brought its share of problems. As a young girl, Cardinale attended elementary school in the ancient city of Carthage. Her first cinematic experience came when she participated in the making of a short film with her

Nicoletta Braschi and Roberto Benigni.. What cinema dreams are made of

The Toronto International Film Festival is wrapping up its retrospective of the cinematic collaboration of husband and wife team, Nicoletta Braschi and Roberto Benigni. Over the last few days, the couple have participated in discussions, Q & A sessions and have introduced several of their films. Today, I attended a screening of "La voce della luna" (The voice of the moon). It was  Federico Fellini's last film and is a wonderful tribute to the director's signature poetic madness. The film gave Benigni the opportunity to team up with fellow beloved comic, Paolo Villaggio, and the two created a truly unforgettable adventure. Today's screening began with an introduction by Benigni. The moments leading up to his introduction were noticeably serious and somewhat tense. Benigni's publicist and TIFF security staunchly guarded his privacy. There was no interaction and no photos were allowed. Guided by his entourage, he walked quickly from the Green Room to th