Floated2 Twice Born tells the story of interconnecting parallels stories upon one within the context of a story art. The film toggles between present-day scenes depicting the mother and son's complicated relationship and flashes of the tragic love affair between Gemma and Diego (Emile Hirsch) in the early 1990s that led to Pietro's conception. The boy's birth was the product of rather bizarre and secretive circumstances that places his biological kinship under suspicion, and the point of Gemma's trip is to reveal to him the truth about his filiation, but it turns out that she herself only knows half the story, if not less.We are then later to come in between. We then see Gemma and Diego's love is the sort that only seems possible in Europe. The beginning of their story has the gravitas of the destine-bound love at the center of Julio Medem's Lovers of the Artic Circle, but none of its focus, as Twice Born quickly turns out to be more interested in reveling in the secrets of its storyline than in its sentiments. Gemma and Diego grow apart as she discovers she can't have children and is scared that her sterility will make him chase other women. Although it does spark some chemistry and connections, the later scenes have a separate distance from one another, and it appears to feel more so all over the place. Twice Born does extend and could have been a little shorter, however there are an audience of these type of films.

gradyharp Margaret Mazzantini's very popular novel 'Venuto Al Mundo' (English translation 'brought into the world') has been transformed into a screenplay by the author assisted by the director (her husband) Sergio Castellitto, the film in English is now called TWICE BORN. It is complex story, beautifully sculpted with interlocking flashbacks that cover a 30 year period, photographed with great skill by Gianfilippo Corticelli, and a cast that makes this carefully integrated story of varying timeframes work splendidly. Much of the film's beauty is in the complexity of the manner in which the story develops and revealing too much of that story would spoil the experience for new viewers. Very basically the story relates a mother who brings her teenage son to Sarajevo, where his father died in the Bosnian conflict years ago. But more needs to be added.Italian professor Gemma (Penélope Cruz) visits Sarajevo with her son, Pietro (Pietro Castellitto, son of the writer and director). The two of them had escaped the city sixteen years ago while the boy's father, photographer Diego (Emile Hirsch) remained behind and later died during the Bosnian War. As she tries to repair her relationship with Pietro, Gemma is forced by revelations to face loss, the cost of war and the redemptive power of love. She re-acquaints with her dear friend Gojco (Adnan Haskovic) and together they relive the horrifying experiences of the war in Sarajevo, Gemma's attempt to provide her beloved Diego with a son (she is sterile), the eventual plan to have Diego use musician gypsy-type Aska (Saadet Aksoy) as a surrogate for the couples much desired child, and the consequences that plan takes on, leading to a series of identity crises that the now older Gemma must face with her teenaged son Pietro. The story is structured on alternate scenes from the trip taken in present in Bosnia by Gemma and her son and flashbacks from the two time periods (of the first encounter and the war), a technique that at times is difficult to follow but that definitely enhances the tension of the story.The cast is extraordinary: Penelope Cruz is dazzling, Emile Hirsch gives his most sensitive performance of his career, and Adnan Haskovic, Saadet Aksoy and Luca da Filippo (as Gemma's father) are outstanding. This is a difficult film in message but a profoundly moving drama. Highly Recommended. In English, Italian, and Bosnian. Grady Harp

Chris When watching this film it reminded me a lot of "Incendies". Not only because of the story but also because it was almost as tough to watch. It almost felt too realistic, never giving you a chance to get comfortable. That's what makes this movie exceptional. The acting is top notch, really impressed by the performance of Penelope Cruz and Hirsch. The Make-up makes the age-differences look totally authentic. The Soundtrack also gives the film an extra dramatic feel. Even though it is over 2 hours in length you never feel bored, always keeps you excited.8/10 stars

leplatypus To understand my summary, i would say that this movie is the mix between "Harrisson's flowers" (a love chase in the Yugoslavian war) and "Hindsight" (a crap movie that illustrates baby trade between parents). The result finally disappointed me as the story is unbelievable, too much baroque and the characters really antipathetic. I couldn't believe one second the lovestruck between Penelope and the photographer and their poet Yugoslavian friend keeps irritating me with his insidious attitude. Then, the story about Penélope's son isn't really realistic: all the twists and news about his roots really kill the emotion rather than make it appear! Worst, the Yugoslavian war appears above all like the necessary needed backdrop to raise the tension. In that way, "HF" was a much better drama about this conflict! However, the movie offers amazing make-up to age the cast: sure, it's about gray hair, change of clothes, but you could have a glimpse of what Penélope and others would look like in a few years. There's also a real effort to shoot on location as well. Now, regarding Penélope, she stroke me a bit as a female Pacino: kind, compassionate but ready to explode and shout as well when needed. Maybe it's the Mediterranean heritage that reached also the Adriatic coast!