Variety examines Edoardo Gabbriellini's 'The City of the Living', a film reflecting on a tragic true story from Rome, focusing on representation and empathy.
On September 4, 2026, Variety published a detailed review of Edoardo Gabbriellini's film, The City of the Living. The film chronicles the tragic true story of Luca Varani, a young Roman man who was brutally murdered, and presents a nuanced portrayal of its main character while raising intriguing questions about representation and the responsibilities of filmmakers toward marginalized communities.
The film is based on real events that occurred a decade ago, focusing on Luca Varani, who was murdered in a horrific incident involving two men. This tragic narrative is anchored in Gabbriellini's direction, which prioritizes the character's life over the grisly details of his death. The review emphasizes the director's ability to create empathy for Luca and his loved ones, highlighting their profound loss while also acknowledging a critical blind spot regarding the representation of the murderers' sexuality and moral depravity as tied to their sexual orientation.
According to the review, Gabbriellini's film distinguishes itself by focusing on character development rather than sensationalism. Luca is portrayed as a relatable, working-class youth who aspires for a better life while dealing with societal expectations and pressures. The film immerses viewers in his world, showcasing his joy, familial love, and the devastation following his tragic loss.
However, the piece critiques the representation of the murderers, who are depicted as psychologically complicated yet defined singularly by their deviant behavior and sexuality. This raises ethical questions about the implications of such portrayals, especially in an Italian media landscape noted for its challenges regarding LGBTQ+ representation. The review suggests that the film could have benefited from integrating a more positive depiction of queer individuals to create a more balanced narrative.
The film's release could stir conversation among audiences, particularly regarding how marginalized communities are represented. Gabbriellini's attempt to humanize Luca serves as a compelling narrative anchor, yet the uncritical portrayal of his murderers as queer individuals may elicit frustration, especially among advocates for positive gay representation in media. While many viewers may not perceive this imbalance, those attuned to issues of representation could find it concerning, prompting deeper discussions about the portrayal of LGBTQ+ characters in film.
The critical reception of The City of the Living suggests that while it effectively draws viewers into its emotional core, it also underscores the need for a more thoughtful approach to representation in storytelling. The conversation surrounding LGBTQ+ portrayal in cinema remains vital, and this film may serve as a focal point for discussions about responsibility in creative representations of marginalized groups.
For those interested in broader themes in film, related discussions can also be found in analyses of other works, such as Malcolm Todd's Breakout Album and Formula 1's Live Event in Milan.
The City of the Living raises important questions not just about its specific narrative but also about the prevailing attitudes towards LGBTQ+ representation in media, ultimately highlighting the need for continued dialogue and reflection within the film industry.
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