The Italian director Nanni Moretti started out as a real independent: he made his first feature, on Super-8 film, in 1976, when he was twenty-two, and with its title, “Io Sono un Autarchico” (“I Am Self-Sufficient”), he laid his cinematic cards on the table. He has been the quasi-autobiographical star of most of his films; his 1993 comedy, “Caro Diario” (“Dear Diary”), which I discuss in this clip, pushes the notion to its furthest extreme. Moretti builds drama from his pleasures and his musings, from his work processes and his personal ordeals. His brisk, airy, reflexive technique is designed to bring his reflections and activities to the fore in the actual time of their occurrence. In the process, he realizes a longstanding, if unstated, ideal that runs through the history of the modern film: to be able to tear pages from a cinematic notebook and paste them onscreen as a finished work, the way that modern painters can do with their sketches. The resulting self-portrait is comically proud and self-mocking, in equal measures creative and blocked, productive and frustrated, forward-moving and nostalgic, haunted both by past tragedies and by a new one at hand—his grave illness. Moretti’s sense of satire has a natural storyteller’s hyperbolic flair, and his film criticism on the wing conveys a sense of a whole life lived in natural coalescence with the cinema. It’s a masterwork by a modern movie man, for whom images have effaced the boundary between life and art. Even this aspect of “Caro Diario” arises from the facts of his life: in 1991, he became the proprietor of one of Rome’s leading art houses, the Cinema Nuovo Sacher.
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