Abstract

This article presents a new reading of Nanni Moretti's latest films through the lens of Maurizio Ferraris' New Realism. While Moretti's first productions 'encounter' reality in order to bring to the screen a critical image of Italy that is charged with political implications, the last films define a new relation with the real that is centered on the concept of "unamendability" of reality. This opens up new forms of engagement that go beyond the strictly political.