“The Last One for the Road” follows two middle-aged friends, who swear each drink is their last, as they take a shy architecture student under their wing on a free-flowing bender through the Italian countryside.
The idea of reflection is present within “The Last One for the Road.” The central characters are in their 50s, yet constantly drinking and reminiscing about what once was. In reality, nostalgia itself can only take you so far. Eventually, action needs to take place for change, whether that’s with a “what’s old is new” mentality or starting from scratch completely. The film explores the traumas of the past beautifully, going through the highs and lows alongside the slow-moving and fast-paced parts of life.
Initially, it doesn’t appear that “The Last One for the Road” has a true sense of purpose. Stumbling from scenario to scenario, there’s no clear direction as to where the plot is heading. But it’s this feeling of reflection that remains. The characters are at a standstill in their lives, and the audience is simply a bystander. What follows is their journey to break free from this confinement and discover more about themselves. Because, through their “meaningless” conversations and pitstops, time never stops. It only keeps moving.
“Guys, how about we say… we go home?”
Amid the remembering, the film integrates flashbacks and fantasy-like sequences. Paolo Cottignola’s editing, mixed with Massimiliano Kuveiller’s uniform cinematography, is what allows this to work so well. Even from a different period in time, these memories fit perfectly inside the present narrative.
While simplistic, Kuveiller brings a distinct style to the visuals. When capturing landscapes, he uses wide angles to fully encapsulate the scenery. During conversations, close-ups emphasize characters’ emotional states. While the camera is oftentimes still, zoom-ins and pans are used to aid in the seamless transitions from scene to scene.
In virtually any other time or place, “The Last One for the Road” likely wouldn’t have worked as well. Co-writer and director Francesco Sossai makes the Veneto region of Northern Italy into a character of its own. Sossai, a native of the region, doesn’t aim to capture the pieces of “beauty” that are still inside. Quite the contrary, in fact. Instead, he focuses on the lack of identity, which mimics the characters themselves.
“Peasant civilization belonged to a place — it was an expression of the land itself,” said Sossai. “A way of life that shaped these spaces for centuries is now gone. You could say I made the film among the ruins of that Veneto.”
The performances help bring all of these ideas to life. Filippo Scotti (Giulio), Sergio Romano (Carlobianchi) and Pierpaolo Capovilla (Doriano) each deliver endearing performances. Scotti is initially quiet, but gradually gains confidence with each passing minute. His directness and grounded nature contrast well with the clumsy, carefree personalities of Romano and Capovilla. When the three are together, the movie’s thematics shine the brightest.
Because it’s ultimately the characters that propel “The Last One for the Road” forward. Through Scotti’s inclusion in the friendship between Carlobianchi and Doriano, he is able to see the “old” and, in turn, why it’s important to maintain these ways of living amid the “new.”
Throughout all of the shenanigans, the film is sometimes too overindulgent for its own good. It follows a cyclical format, with characters moving from location to location and learning something new about themselves at each pitstop. These individual quests aren’t necessarily “entertaining,” but when combined together, they form a cohesive and sentimental heart. The pacing does suffer because of this, however. At 100 minutes long, there are long stretches of “The Last One for the Road” that prove monotonous. Without a clear climax looming, it feels directionless more often than purposeful.
This is a true slow burn, one that is at least culturally relevant and, most importantly, timely.
“The Last One for the Road” is a story about time — and it’s a long journey. But in a world full of new ideas, the “old-fashioned” way of living still has plenty to teach us.
Rating: 3.5 out of 5
