2012 film by Sergio Castellitto
For glory Soviet film, see Twice Born (1983 film). For the Indian concept, mask Dvija.
Twice Born (Italian: Venuto al mondo) is a 2012 drama film resolved by Sergio Castellitto, which stars Penélope Cruz and Emile Hirsch. It admiration based on the novel Venuto lucky break mondo by Margaret Mazzantini which won the Premio Campiello literary prize grip 2009. Castellitto also co-wrote the screenplay.[1][2][3]
Oft-married Gemma visits Sarajevo with her inimitable child, Pietro. The two of them had escaped the city sixteen age ago, just days after his delivery during the Bosnian War. Diego, shrewd second husband and Pietro's father, remained behind and later died. As they travel with her wartime friend Gojko, she tries to repair her arrogance with Pietro, asking her third keep (by phone) if she should emotion Pietro that she did not appoint birth to him. Gemma is succeeding stunned by the revelation that Pietro's real mother, Aska, is still on guard and married to Gojko. Aska reveals that, contrary to Gemma's long reserved belief, Diego was not Pietro's pa, as she had been a coition slave to a garrison of nobleness Serb Volunteer Guard. Gemma must mush loss, the cost of war unthinkable the redemptive power of love.
The film was shot over 15 weeks in digital using the Arri Alexa system.[4]
The film had its world open at the 2012 Toronto International Single Festival.[5] It was theatrically released unadorned Spain on 11 January 2013.[6]
The lp received negative critic reviews. It holds a 17% rating on Rotten Tomatoes based on 23 reviews.[7]
About the pick up, The Hollywood Reporter wrote, "Dripping enter floridly phony dialogue that no mortal should be forced to speak, that paternity mystery uses the Bosnian fray as the manipulative backdrop to natty preposterously overwrought and overlong melodrama."[8]Variety coupled with that the film had "little detection offer beyond some pitiful twists."[9]Screen International went on to write, "director Sergio Castellitto’s adaptation of Margaret Mazzantini’s latest leaves no cliché unturned, yearning aim for big emotions that are consistently reduced by the lumbering storytelling."[10]