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Cold war nostalgia and political utopia in Nanni Moretti’s Il Sol dell’avvenire (2023)
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This paper seeks to offer a critical reading of Nanni Moretti’s recent film Il Sol dell’avvenire (2023) – A Brighter Tomorrow (in English) – and, more specifically, the ways in which the film engages with the important tradition of Italian Communism and the world-historical events of the Soviet crushing of the Hungarian uprising in November 1956. By making direct reference to the events in Budapest in 1956, and by playfully providing an alternative historical direction for the Italian Communist Party (PCI) itself, it will be suggested that the film, quite paradoxically, both seeks to provoke a serious engagement with this important historical moment and, at the same time, reduces the representation of it, by nature of its general comedic tone, to one of parody or ‘pastiche’ (Jameson 1991). The paper intends to analyse the way in which the film uses décor, costumes and props as well as historical footage to stage its playful representation of the past and will consider the ways in which such representation conforms to, as well as contradicts, Fredric Jameson’s description of the ‘nostalgia film’ (1991, 2007). It will be suggested that the film to some extent problematises this notion through its perceived interest in political utopia and its alternative, optimistic vision of the future, something that Jameson suggested had been lost in the postmodern. At the same time, however, with its overarching playful tone, the film can be seen to effectively neutralise such perceived utopianism by falling back into its own ‘postmodern’ irony.