The film is mainly composed of shots extended in time that start as close-ups, turn into medium becoming wide and master shots. The majority of them are characterized by their usage of natural light which turn frames into beautiful chiaroscuros and sketches of bodies in backlight, tracking the characters on scene in swift slides.
The script reminds me that there is no need to make overly explicit interconnected stories. But rather, leave them as independent and juxtaposed organically in a social structure. When there is a polyphony of protagonists the central role is delegated to the larger structure in which they coexist. Social portraits are always complex for that same reason. The characters must appear in a minimal, representative quantity of time, this includes age, gender, race and class. In such a way that this film also relies on establishing shots to emphasize that is portraying a specific location, Camorra.
It was particularly striking to me the treatment and social critique shown towards the textile industry. Designs that begin modestly and badly payed in Italy transform amazingly. The clerk/designer character decides to sell his knowledge to the Chinese which repay exceedingly. He is later badly hurt by others who kill if necessary to maintain control of the industry. Some time later, he sees Scarlet Johanson appearing in a store television glamorously wearing in Hollywood the dress he designed. That story makes evident how rotten is the conception of what is elegant and all the blood and bad quality living on which it stands. Everyone dies except the CEO’s who deal with their bad consciousness and the poor who are marginalized by the power of the mafia.
