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Silvio Soldini employs a cinematic style that mirrors the emotional state of his characters. The film eschews melodramatic music and stylized lighting in favor of a documentary-like realism.
As Danielle and Alessandro begin a romantic relationship, they both find themselves confronting their own demons and insecurities. Danielle's past experiences have left her with emotional scars, and she struggles to open up to Alessandro and trust him. Meanwhile, Alessandro has his own secrets and fears, which threaten to destroy their relationship.
The narrative follows (Alba Rohrwacher), an accountant for a small insurance firm who leads a comfortable, highly predictable life in Milan. She shares a stable apartment with her longtime boyfriend, Alessio (Giuseppe Battiston), a kindhearted, reliable partner who is actively planning their future and eager to have a baby. Though their relationship is peaceful, the romantic spark has faded into a routine.
If you can tell me what you found most interesting about this review—the , the characters , or the film's style —I can provide more detailed information on that specific aspect. Share public link Come Undone Movie 2010
Unlike many melodrama-filled adultery films, Come Undone distinguishes itself by focusing on the mundane, logistical, and often pathetic realities of having an affair. The film explores:
: Reviewers have described the first hour as an "intelligent and absorbing domestic drama". However, critics have also noted that the latter half of the film can feel taxing as the characters' "annoying selfish whining" takes center stage.
Come Undone tells the story of Anna (played with intense vulnerability by ), a woman living a comfortable, somewhat mundane life in Milan with her boyfriend, Alessio ( Giuseppe Battiston ). Her life is orderly—she works as an accountant and enjoys a stable, if unexciting, routine. Silvio Soldini employs a cinematic style that mirrors
This all changes at a farewell party for a colleague. There, Anna meets Domenico (Pierfrancesco Favino), a slightly older, virile headwaiter at a local restaurant.
The (originally titled Cosa voglio di più , which translates to "What More Do I Want") is a critically acclaimed Italian erotic drama directed by Silvio Soldini . Grounded in unvarnished realism, the film explores how an ordinary office flirtation quickly unravels into a messy, high-stakes extramarsital affair. Unlike mainstream Hollywood romances, this European production bypasses glamorous tropes to deliver a sobering look at the logistical, financial, and emotional toll of infidelity.
Soldini’s film is not, however, a romanticization of this passion. Instead, it meticulously measures the day-by-day cost of their secret. The logistics of deceit quickly become a crushing weight. The lovers are plagued by a constant need for alibis and stolen moments. Domenico’s opportunities for escape are especially narrow, as he is tied to a demanding job, two young children, and a perceptive wife, Miriam (Teresa Saponangelo), whose suspicion acts as a constant threat. For their trysts, they must rely on the brief window during Domenico’s once-a-week visit to a public swimming pool, hastily adjourning to a grim, cheap motel. Danielle's past experiences have left her with emotional
Upon its release in 2010, Come Undone was praised by international critics for its uncompromising honesty. While some viewers found the deliberate pacing and lack of easy answers frustrating, others lauded it as one of the most accurate depictions of an affair ever put to film.
★★★★☆ (4/5) – A masterclass in acting and atmosphere, though its deliberate pacing may test viewers accustomed to faster narratives.
Silvio Soldini employs a cinematic style that mirrors the emotional state of his characters. The film eschews melodramatic music and stylized lighting in favor of a documentary-like realism.
As Danielle and Alessandro begin a romantic relationship, they both find themselves confronting their own demons and insecurities. Danielle's past experiences have left her with emotional scars, and she struggles to open up to Alessandro and trust him. Meanwhile, Alessandro has his own secrets and fears, which threaten to destroy their relationship.
The narrative follows (Alba Rohrwacher), an accountant for a small insurance firm who leads a comfortable, highly predictable life in Milan. She shares a stable apartment with her longtime boyfriend, Alessio (Giuseppe Battiston), a kindhearted, reliable partner who is actively planning their future and eager to have a baby. Though their relationship is peaceful, the romantic spark has faded into a routine.
If you can tell me what you found most interesting about this review—the , the characters , or the film's style —I can provide more detailed information on that specific aspect. Share public link
Unlike many melodrama-filled adultery films, Come Undone distinguishes itself by focusing on the mundane, logistical, and often pathetic realities of having an affair. The film explores:
: Reviewers have described the first hour as an "intelligent and absorbing domestic drama". However, critics have also noted that the latter half of the film can feel taxing as the characters' "annoying selfish whining" takes center stage.
Come Undone tells the story of Anna (played with intense vulnerability by ), a woman living a comfortable, somewhat mundane life in Milan with her boyfriend, Alessio ( Giuseppe Battiston ). Her life is orderly—she works as an accountant and enjoys a stable, if unexciting, routine.
This all changes at a farewell party for a colleague. There, Anna meets Domenico (Pierfrancesco Favino), a slightly older, virile headwaiter at a local restaurant.
The (originally titled Cosa voglio di più , which translates to "What More Do I Want") is a critically acclaimed Italian erotic drama directed by Silvio Soldini . Grounded in unvarnished realism, the film explores how an ordinary office flirtation quickly unravels into a messy, high-stakes extramarsital affair. Unlike mainstream Hollywood romances, this European production bypasses glamorous tropes to deliver a sobering look at the logistical, financial, and emotional toll of infidelity.
Soldini’s film is not, however, a romanticization of this passion. Instead, it meticulously measures the day-by-day cost of their secret. The logistics of deceit quickly become a crushing weight. The lovers are plagued by a constant need for alibis and stolen moments. Domenico’s opportunities for escape are especially narrow, as he is tied to a demanding job, two young children, and a perceptive wife, Miriam (Teresa Saponangelo), whose suspicion acts as a constant threat. For their trysts, they must rely on the brief window during Domenico’s once-a-week visit to a public swimming pool, hastily adjourning to a grim, cheap motel.
Upon its release in 2010, Come Undone was praised by international critics for its uncompromising honesty. While some viewers found the deliberate pacing and lack of easy answers frustrating, others lauded it as one of the most accurate depictions of an affair ever put to film.
★★★★☆ (4/5) – A masterclass in acting and atmosphere, though its deliberate pacing may test viewers accustomed to faster narratives.