Review: Girighetens pris (Bio)

The first point to note about Paolo Verzi’s film is that while the Swedish title, Girighetens pris (The Price of Greed), captures a thematic element of the narrative, the original title, Il capitale umano, is arguably more precise. Human capital, a term used by insurance companies to quantify the economic value of a human life in settlement claims, carries significant weight in the film. It reflects the exploitation of individuals within a capitalist framework, highlighting the substantial human cost of greed.

Set in northern Italy, the film introduces us to two families. The Ossolas, a struggling middle-class family, consist of Dino, a real estate agent, his new wife, and his daughter from a previous marriage. As the financial crisis impacts Italy, Dino perceives an opportunity to profit by ingratiating himself with Giovanni Bernaschi, a wealthy hedge fund manager and the father of his daughter Serena’s boyfriend. Dino undertakes a considerable risk, borrowing funds to invest in Bernaschi’s hedge fund, thereby exposing his family to potential financial repercussions.

Girighetens pris explores multiple layers beyond the economic and social disparities between the middle and upper classes. The film opens with a hit-and-run incident involving a cyclist. The vehicle, belonging to the son of Giovanni Bernaschi, implicates the family in the unfolding drama. We also follow Carla Bernaschi, portrayed by Valeria Bruni Tedeschi, a discontented former actress and wife to a detached and indifferent wealthy man, who seeks fulfillment beyond her current circumstances. The film paints a bleak and unsettling portrait, where initial impressions are quickly subverted. Employing a compelling narrative technique, the film presents the same sequence of events from the perspectives of Dino, Serena, and Carla, allowing the audience to gradually piece together the truth. The central questions driving the plot involve identifying the driver of the vehicle, determining the fate of the hedge fund investment, and unraveling the complexities of the family relationships. The story incorporates several well-executed twists that maintain audience engagement, complemented by compelling performances, particularly from Matilde Gioli as Serena and Valeria Bruni Tedeschi as Carla.

The film showcases the picturesque landscapes of northern Italy and presents an intriguing narrative centered around the highly relevant financial crisis, which has had a devastating impact on numerous lives, particularly in Italy. However, Paola Verzi’s overall vision feels somewhat ambiguous. The film’s pacing occasionally falters, leaving the viewer to question the director’s intent: is it to deliver an engaging narrative, to comment on the practices of large insurance companies, to analyze the impact of the financial crisis, or to achieve all of these aims simultaneously? This ambiguity results in a slightly unfocused narrative towards the conclusion. Nevertheless, the film remains compelling, visually appealing, and aurally satisfying, maintaining audience engagement throughout its duration. Viewed as a primarily entertaining film, transcending explicit messaging and critiques of insurance companies and hedge fund managers, it successfully captivates and provides a worthwhile cinematic experience.