Toxic Masculinity and the Italian Plains: A Cinematic Awakening

Introduction: The Weight of Silence

When I first heard about Tommaso Usberti's Before the War, I wasn't expecting much. The synopsis, after all, sounded like a familiar recipe for cinematic exploitation: racism, toxic masculinity, and provincial Italy. But as I sat through the film at Venice Critics' Week, I realized that this isn't just another movie about how society's worst impulses shape individuals. It's a raw examination of how those same forces can be internalized, weaponized, and ultimately transformed by love.

Guido's World: A Mirror of Violence

The film follows Guido, a young man raised in the racist, macho culture of Northern Italy. Usberti's direction doesn't flinch—there's no sugarcoating his protagonist's journey from violent enforcer to confused dreamer. The world Guido inhabits is one where power is gained through brutality, and where respect is earned by suppressing others. It's a familiar setting for many, but the specificity of this Italian milieu gives it a sharp edge.

"He has earned respect from his peers through violence in the racist and macho environment he grew up in," the film's synopsis reads. And indeed, we see that violence as both a shield and a weapon—Guido's way of asserting dominance, and also his way of hiding his vulnerability.

What makes this film stand out isn't just its unflinching portrayal of Guido's upbringing, but the way it mirrors the broader societal structures that allow such environments to thrive. The director doesn't offer easy answers; instead, he crafts a space where we must confront our own complicity in systems of power.

The Contrast: Sonia and the New World

Enter Sonia—a young Kosovar immigrant who disrupts Guido's world. Their relationship isn't just romantic; it's revolutionary. It challenges not only Guido's understanding of himself but also his community's prejudices. But this is no fairy tale—Sonia is as complex as Guido, and the film treats her character with the depth she deserves.

The dynamic between the two protagonists isn't just about love or hate—it's about how two individuals from vastly different worlds collide, and how one person's journey can open another's eyes to possibilities they never imagined. Sonia doesn't simply save Guido; she forces him into a reckoning with his own beliefs.

Artistic Excellence: A Cinematic Battle

It's hard not to be impressed by the film's visual storytelling. The cinematography, with its focus on body language and subtle gestures, creates a physical tension that mirrors the emotional struggle within the characters. The mise-en-scène is meticulously crafted, and every frame seems to pulse with the weight of unspoken truths.

The jury's praise—"intense and vibrant direction," "powerful and expressive talent of its lead actor"—is well-earned. Piero Usberti, who plays Guido, delivers a performance that's both grounded and haunting. His portrayal of a man torn between his old life and a new understanding is nuanced, layered, and deeply moving.

Sound and Silence: The Unspoken Language

What struck me most about the film was how it uses silence to amplify its themes. In a world where violence often speaks louder than words, Usberti allows moments of quiet introspection to carry the weight of meaning. Sound becomes a battlefield in itself—music and ambient noise contribute to the tension, highlighting not just what's said, but what's left unsaid.

The film's exploration of toxic masculinity doesn't end with Guido—it extends to every character who has been shaped by it. It's a deeply human story that refuses to simplify its characters or their struggles. This is where Before the War truly shines: not in its plot, but in its commitment to emotional authenticity.

Winning Prizes and Winning Hearts

The film's recognition at Venice Critics' Week—winning both the Grand Prize and the Best Producer award—is more than just a testament to its artistic merit. It's a signal that audiences and critics alike are hungry for stories that confront uncomfortable truths without shying away from complexity.

But what I find most compelling is how this film doesn't seek validation through shock or sensationalism. Instead, it quietly challenges us to examine the world we've built—and the people within it who have shaped us.

Looking Forward: The Future of Italian Cinema

Before the War marks a significant moment in Italian cinema, particularly for first-time directors. As the only Italian entry in the Critics' Week section dedicated to debut works, it stands as a powerful reminder that fresh voices can still be heard in an industry often dominated by established names.

It also speaks to the broader cultural shift happening across Europe—where stories of identity, belonging, and transformation are no longer confined to traditional narratives. Usberti's film is part of a new wave of filmmaking that dares to ask: What happens when we stop pretending everything is fine?

For those who haven't yet seen it, Before the War is not just a film—it's an experience that will linger long after the credits roll. And for those in the industry, it's a bold statement of what cinema can be when it dares to speak truthfully about the world we live in.