It’s raining, the review of the film: Paolo Strippoli switches to metropolitan horror

The review of Piove, the new film by Paolo Strippoli, the first solo, which after Alice in the City arrives at the cinema from 10 November with Fandango.

It is interesting to note that in a few weeks on the Italian big screen we are about to move from a Rome where there is a problem with Drought like that of Paolo Virzì to one in which precipitation does not stop like that of Rains, the new film by Paolo Strippoli from 10 November at the cinema with Fandango after the presentation at Alice nella Città. After A Classic Horror Story, the young and promising director tries to travel alone by building a hybrid genre film, just as he likes them, and moving from the revisited and overturned classic styles of the original Netflix film to something dirtier and above all metropolitan, in which the capital does not it is only the theater of the events told, but a character who breathes – indeed, makes the protagonists breathe. Let’s try to dissect all the aspects and contents in this review of Rains.

Metropolitan horror

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It’s raining: an image from the film

That of Rains, as we mentioned, we could define it as a metropolitan horror. There is the Roman undergrowth which is not necessarily that of the hamlets, but that of the less affluent neighborhoods, of the sewers and of the daily crime news. The most dramatic and painful news of homicides and family assaults continue to arrive on the news: how nice would it be if there was a supernatural explanation for this horror? This is what Jacopo Del Giudice, screenwriter of the film to which Paolo Strippoli try to give face and voice. They thus depict Rome as a metropolis completely in disarray, which has to deal with both the daily internal problems of managing spaces and the general malfunction – who has lived there for a while, knows what we are talking about – and with what it is experiencing. outside the whole world, including post-pandemic, war, climate change, and so on.

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It’s raining: a moment in the film

Is hope the last to die or is it already dead? This too seems to be one of the many questions of this investigative horror, at the center of which there is a dysfunctional and destroyed family, led by his father Thomas (Fabrizio Rongione), who does a double job to make ends meet and above all is always sad , gloomy and closed in on itself. Then there are the children Enrico (an increasingly launched Francesco Gheghi), a disillusioned teenager who seems to have lost all stimulus, including his friendship with Gianluca (Leon De La Vallée) and the pleasure of discovering his own body and sexual experience, and little Barbara (Aurora Menenti), who can no longer walk after an accident. Incident that apparently is the cause of the breakup of the family unit, of which we have no details but that hovers over the characters and their experience as a poisonous fog that touches everything and makes everything rot. Just like the supernatural fog of the film, which comes from the sewers and above all from the rain, which brings out what is already rotten in us as human beings, and how easily we are likely to do harm rather than good to others.

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The cycle of horror

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It’s raining: a scene

Water is the element chosen for the film and is constantly present. Not only in the rain that gives the title and pervades the whole story, but also in the tub, in the sink, in the glass that Thomas holds in his hand, and so on. The bathroom thus becomes a possibly purifying place as well as the diffusion of Evil. As humans, we are 60% water, born in amniotic fluid, and may return to it in some form in a cyclical fashion. Speaking of cycles, that of water has four phases: evaporation, condensation, precipitation, infiltration. Chapters into which the film is divided: the metropolitan horror that makes its way with ever greater freedom and encountering less and less repulsion from people.

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It’s raining: a scene from the film

In Piove, however, the fourth stage is absent, perhaps because there is the possibility that this rampant Evil will be stopped in time. The task could be up to the protagonist family. Because it is at the simpler and more ancestral core that the suggestions and twists of this story bring back – not those of A Classic Horror Story, from which also comes a small surprise cameo, but still interesting. Rain is as much a purifying element – it washes away sins, and the religious element returns from the previous film but more subtly – as it is the holder of sadness and sadness. The staging of the film is embellished by a photograph that accentuates the dirt of the city as told, which reaches from the streets to the houses, from the public to the private, to the hearts and souls of the citizens. The iconography of the film is very suggestive, starting with the balloons, as It teaches, already present in the poster and which in the film will have an unexpected meaning; they represent something childish that becomes something horrifying.

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Men, women, we are all in disarray

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It’s raining: a sequence from the film

When Cristina, the character played by Christian Dell’Anna in the film, it appears on the screen, embellishes the shot as well as the story, giving meaning to what has been seen up to that moment and explaining at least in part the actions of the other characters. The three acts of the film tell of an escalation of pain and death, of horrible actions from which it seems we cannot free ourselves as human beings, it does not necessarily want to give answers but above all to ask questions. An attitude very much in line with the times we live in and with the generations that should represent the future, represented in the film by Francesco Gheghi And Author Menenti. Men, women, male and female characters are two sides of the same coin in the film, equally in disarray.

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It’s raining: a photo

Rains he wants to give the public a finally positive feeling, to try to understand each other, to try to meet each other, to try to accept rather than strike. By proposing a Rome that resembles that of Stefano Sollima in Suburra, but which becomes dirtier and rainier, Paolo Strippoli once again enjoys mixing and reversing genres, playing with them, to create something new. He offers a film that allows many interpretations and insights, which generates suggestions rather than iconic scenes as he did A Classic Horror Story. Once again the otherworldly horror becomes real, tangible and then goes around and goes back to being supernatural. In short, the diffusion of Evil in the film works through images rather than dialogues, for unspoken and subtraction rather than exasperation. To remind us that to witness Evil, just open the window of the house or, even more simply, turn on the TV or open social media and listen to the news. And that perhaps a supernatural explanation would not force us to look in the mirror and admit what we have become.


We close the review of Piove, the second film by Paolo Strippoli and the first solo, influenced by the many feelings that he managed to stir during the viewing. In a Rome in disarray and in which the rain never stops, water becomes an element of contagion and purifier at the same time, looking at the crime news of our days. Chronicle that the difficult times we are experiencing have sharpened, to return the fluctuating writing of Jacopo Del Giudice in something dirty but still recoverable. Just want it.

Because we like it

  • The visual suggestions that the direction of Paolo Strippoli returns to the viewer.
  • The idea of ​​the not too veiled metaphor of the daily crime news that increasingly fills our newspapers, TV and social media.
  • The metropolitan horror that tells through a family that is losing its compass.
  • A cast embellished by some performers such as Cristiana Dell’Anna and a promising Francesco Gheghi.

What’s wrong

  • Precisely because it thrives on images and not completely on plot, it may not satisfy everyone.
  • The film is fluctuating and not very fluid in some places.

It’s raining, the review of the film: Paolo Strippoli switches to metropolitan horror