The relationships we forge in life often aren’t always smooth-sailing. They can be both loving and heartbreaking at the same time. That being said, perhaps the most complex of relationships isn’t ones with romantic intrigue, but with our own families. Maura Delpero’s Vermiglio is an Italian drama that won the Grand Jury Prize at the 2024 Venice Film Festival, and went on to be a rich headliner on the year’s ensuing festival circuit.

Set in the scenic yet remote Alpine village of Vermiglio in 1944, there isn’t much noise about World War Two that is happing just over the hilly horizon. The only noise comes from the unexpected arrival of Pietro (Giuseppe De Domenico), a Sicilian soldier who decided to opt out of life on the front line. Cesare (Tommaso Ragno), the local school teacher and father of an ever-growing family of nine, helps Pietro become part of the tight knit community, declaring that no soldier asked for the war.

It’s evident that Cesare’s eldest daughter Lucia (Martina Scrinzi) has a soft spot for Pietro. The swift love affair between the two is mostly played out sans dialogue, though the chemistry between De Domenico and Scrinzi allows for the sentiment to feel genuine. Soon after their quiet first kiss, the pair marry and are soon expecting their first child. As the war is declared over and celebrations break out, it’s time for Pietro to return to Sicily. He promises to write to Lucia as soon as he arrives, but weeks go by and nothing comes. Sadly, through the newspaper, they learn that Pietro has been murdered by someone who didn’t take too well to his new life.

As the film progresses through its first half, it feels stuck at times as it attempts to juggle the complicated lives of the family, rather than finding its sole focus. Dino (Patrick Gardner) is resentful of his father and opts to drink than focus on his education, whereas Flavia (Anna Thaler) is the smart one destined for a proper education. We see Ada (Rachele Potrich) acting strange at times and sneaking off behind the wardrobe door to touch herself. The film’s plot twist is the first time it feels like a narrative has been cemented, even though it feels rushed and tangled amongst the complex exploration of family complications.

Arguably the film is a missed opportunity to explore further the depths of Lucia’s grief. Only within Vermiglio’s final act do we see Lucia heavily pregnant and struggling following the sudden death of Pietro. Scrinzi is the star of the film at this point, allowing audiences to really empathise with her character. Grief in films can sometimes allow audiences to additionally find something they relate to, but as the theme is introduced quite late within the narrative it doesn’t quite hit home.

It’s easy to see why Vermiglio has received praise on the festival stage; it’s a hushed yet effectively emotive drama that’s bolstered with the addition of Mikhail Krichman’s stunning cinematography. Yet sadly, it’s hard to overcome the film’s biggest weakness – the ripple effect that comes from its overcomplicated characterisations.

Little White Lies is committed to championing great movies and the talented people who make them.

By becoming a member you can support our independent journalism and receive exclusive essays, prints, film recommendations and more.