Mia Madre Page #4

Synopsis: These are hard days for Margherita, who is going through a very difficult period in her life. On a professional level first, the middle-aged film director, has started wondering whether the committed movies she has been making are really an actual reflection of the world she lives in ; on top of this, she is in conflict not only with her crew but also, and primarily, with Barry Huggins, a well-known American actor of Italian origin, who proves awfully bad and uncontrollable. On the personal level, things do not get any better - it could even be said they are worse. Margherita has just left her life partner and she has become unable to relate to her teenage daughter. As for her mother, she is now seriously ill and her doctor tries to prepare her brother and her for the worst. Which is unacceptable to the weakened woman who can find salvation only in denial of reality. Will she manage to face up to the facts and to come to terms with herself?
Genre: Drama
Director(s): Nanni Moretti
  11 wins & 23 nominations.
 
IMDB:
6.8
Metacritic:
70
R
Year:
2015
106 min
141 Views


- What's going on?

- He can't see.

Marco, prompt him.

I don't think she's from the Union.

No, I don't think so.

No, I don't think so.

No, I don't think so.

No, I don't think so.

I don't think so...

No, I don't think so.

- Barry, what's going on?

- He hurt me.

Stop?

F*** it, stop.

What a disaster!

How can a person act and drive

with three cameras in his face?

You know what Barry's like.

But he's right,

he's afraid, he can't drive,

he can't act,

he makes mistakes, it's normal!

Could you act

with three cameras in your face?

I know... Sandro

even shot light in his eyes.

You asked me to.

I'm pissed off with me,

just with me!

Why did you let me change?

The car should be on the

camera car, why did you listen to me?

- You always listen to me!

- But if the director asks...

The director's an a**hole

you let get away with murder!

Here?

Are you okay?

Not so stiff... like that, good.

Your body has to bend too.

You're doing fine.

Good, but relaxed.

Where did you get this scooter?

From my mechanic, it's used.

A deal!

Let Livia decide.

If changing schools

makes her feel better,

okay, she'll change schools.

Yes, it's dripping perfectly.

Don't worry!

I don't know how to help her,

I'm afraid I'll confuse her more.

If she studies, she'll recuperate.

She didn't study much at first,

she had that difficult period.

But she's getting over it.

What?

Yes...

She was in love.

She was? With who?

I don't know, someone at school.

She suffered, you know?

But I think she's better now.

She didn't say a word.

I see.

Don't get mad, I know,

I've asked you lots of times.

What exactly is wrong with Mom?

Margherita, stop this!

- Why is she getting all these IVs?

- What IVs?

What IVs? Don't you remember?

Mom is dead.

Good morning.

Mom, hi.

Sorry, I don't remember

what they said about the IV.

I took care of it.

There's breakfast when you want.

- Good day.

- Thank you.

You slept here?

Yes.

So then I woke up.

- I felt hot!

- When was this?

No, you'd fallen asleep.

So, I gOt UP

and, with the doctor,

the one who always jokes,

we took a walk...

it was wonderful!

A very long walk,

here, in the hospital gardens.

Did you see the moon last night?

Yes!

There were many other people,

they'd all come out

because of the heat.

It was...

beautiful.

Yes.

Did you bring the translations?

- Yes.

- Let's see.

Do you like living

in Grandma's house? Do you?

Of course!

No!

My own dictionary

is on the desk in my study.

Bring that one next time, please.

- Let's go, honey.

- Be right there.

Wait, Mom?

What was wrong with Grandma today?

Why that absurd story?

She's tired.

They're doing so many tests.

I've never seen her like that!

I don't think she's better, do you?

I don't know.

Your leave of absence

ends in two months.

You don't need to make

such a drastic decision right now,

it makes no sense,

we can't accept it.

Hello.

You are...

Hello.

That's enough make-up!

Who selected the extras?

Me, Diego and the head.

I asked for workers, male and female,

instead they've got fake hair,

long nails, huge lips!

Some men have plucked eyebrows.

Can't you find real faces?

These faces are real,

this is reality.

This might be your reality,

but it's my film.

You should choose them better.

Think it over a little more.

I realize

it's a complicated period for you,

but if necessary, the company

will give you more time.

There's no need, I've decided,

and I won't change my mind.

I know it's not elegant

to remind you, but at your age...

Yes?

...you won't find anotherjob easily.

I know! I know.

Giovanni, it's me. Where are you?

I can never reach you.

Your answering machine's always on.

Call when you hear this message.

I'm a little worried about Mom,

she seems worse.

Margherita, we're ready when you are.

I have to turn off my phone now,

but call the number I left you.

Call me.

What's this guy want?

This is our cafeteria.

We don't want you here.

We don't want you here!

You're predictable.

Predictable.

- You're predictable.

- You're predictable.

Pre-dic-ta-ble.

Cut!

Sorry, my moustache itches.

His moustache itches!

- Want a prompter for him?

- Let's wait a minute.

Could you go over his line with him?

Action.

Why all this hostility?

It's nothing personal against you.

But you and I can find...

find...

An agreement!

Please, don't prompt, especially

in the middle of a scene,

I can do it myself, I'm an adult.

' Yes!

A big bOy

Lorenzo, we're shooting!

C'mon, action.

But you and I can come to agreement.

An...

Cut!

That's enough!

This is no way! Calm down.

You must stop this sit-in

immediately,

or else...

or else...

or else I...

Or else...

Cut!

I can't hold up.

You're almost done!

Done?

- You're done for today.

- For today! Well...

Did you see Barry?

He's like that, all day long.

All day long.

Did you talk to Grandma?

Not yet.

We'll try later.

You must stop this sit-in

immediately...

- No, sorry!

- Don't worry, say it in English.

You must stop this sit-in

immediately...

Don't worry!

Don't worry, it's okay.

Don't worry, Barry.

You must stop this sit-in

immediately,

or else I'll...

Don't say "cut"!

A toast to the new owners.

Cut!

- What's he saying?

- That it's sh*t dialogue.

Sh*t dialogue.

I understand!

Not just the dialogue,

the whole film is sh*t.

Lorenzo, you f*** off too!

Barry, that's enough.

You can't remember a single line!

You made us waste tons of time,

you've been bugging everyone!

That again!

You never worked with Kubrick.

You're ridiculous!

- He fired me.

- Because you're a jerk!

This is his last film, he's retiring.

His last? If only it were true.

If only it were true!

You're an a**hole! An a**hole!

What is it?

- I need the bathroom.

- I'll call the nurse.

No!

Help me a moment.

It's best I call someone.

No need, give me a hand.

Wait, I'll get a wheelchair.

No, there's no need!

You just have to help me get down.

This one goes down too.

You've tired yourself out.

A little.

- Can you manage?

- Yes!

But slowly.

I'm not doing anything.

Come on!

I can't do it.

I don't understand why.

- I can't do it.

- Sure, you can.

See? I can't.

Get the wheelchair.

Come on,

it's impossible

you can't walk six feet.

- Let go of me.

- Come on!

I said to let go of me!

- It's just three steps!

- Let go of me.

It's just three steps!

I can't believe this...

Just three steps.

Forgive me.

Actually, the sit-ins are done here,

outside the Ministry of Labor,

but we can shoot

only between 2 and 6.

Do we shoot here, or not'?

We also have to decide

the cafeteria scene.

We won't dismantle the set, will we?

Dismantle?

The scene's not finished,

it's not done at all.

Just to know

when we'll be shooting it.

Maybe something was good.

Yes.

We have to see those two squares

for Barry and Vittori0's scene.

- No, I'd rather go alone.

- Why?

I'm calmer, I want to be alone.

Rate this script:0.0 / 0 votes

Nanni Moretti

Giovanni "Nanni" Moretti (Italian pronunciation: [ˈnanni moˈretti]; born 19 August 1953) is an Italian film director, producer, screenwriter and actor. The Palme d'Or winner in 2001, in 2012 he was the President of the Jury at the Cannes Film Festival. more…

All Nanni Moretti scripts | Nanni Moretti Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Mia Madre" Scripts.com. STANDS4 LLC, 2024. Web. 19 Dec. 2024. <https://www.scripts.com/script/mia_madre_13697>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is the purpose of a "beat sheet" in screenwriting?
    A To provide camera directions
    B To write character dialogues
    C To describe the setting in detail
    D To outline major plot points