Is We Want Roses Too Worth Watching? Honest Movie Review & Audience Verdict (2008)

The Narrative Arc & Core Premise

We Want Roses Too, a standout production of 2008, meticulously weaves its narrative threads through the Documentary landscape, offering a cinematic experience that is as challenging as it is rewarding. The primary thematic concern of the film is an investigation into The film looks again at recent events from a female point of view, through the first-hand accounts provided by the diaries of three women. As the story unfolds, we are introduced to a world where the traditional boundaries of Documentary are tested.

The screenplay takes its time to establish the stakes, ensuring that every character motivation is grounded in a psychological reality. The synopsis only hints at the depth: "The film looks again at recent events from a female point of view, through the first-hand accounts provided by the diaries of three women. Rather than focusing on the alleged objectivity of facts, the film gives space to a chorus of voices that narrate those events in first person, visually supported by archival footage of the period, drawn from the most varied sources - institutional, public, militant and private. Anita, Teresa and Valentina come from different Italian regions and different social backgrounds, but share the same feelings: they no longer feel as part of a society based on the patriarchal family, on the power of "husbands" and on the supremacy of males, which requires them to be efficient mothers, obedient wives and virtuous daughters."

Artistic Execution & Performance Study

A film's resonance is often dictated by the strength of its execution, both in front of and behind the camera. The ensemble, led by Anita Caprioli, delivers a professional and engaging performance that satisfies the requirements of the Documentary genre. While it may not reinvent the wheel, the commitment to the material is evident in every frame.

The direction by Alina Marazzi is marked by a steady and professional hand. From a production standpoint, the film meets the high standards of modern industrial filmmaking. The sets are well-crafted, and the visual effects are integrated with a level of polish that ensures the viewer matches the director's intended level of immersion. While perhaps not groundbreaking, the execution is flawless. The pacing, over its 85 minute runtime, allows the audience to fully inhabit the space the director has created, making the eventual resolution feel deeply earned.

Critical Assessment: Why You Should Watch

Is We Want Roses Too truly worth your investment of time and attention? In an era of disposable content, this film makes a strong case for its existence. If you are a connoisseur of Documentary, then this is a highly recommended entry that delivers on its promises while offering a few surprises along the way.

The film's ability to perfectly execute its genre requirements is why it has earned its 6.5/10 score. It speaks to a global audience while maintaining a distinct and unique voice, a balance that is notoriously difficult to achieve in the modern marketplace.

Philosophical Subtext & Directorial Vision

At a deeper level, We Want Roses Too explores the dichotomy of truth and perception. The 2008 audience is increasingly sophisticated, and Alina Marazzi respects this by refusing to provide easy answers to the story's complex questions.

The philosophical underpinnings of the second and third acts suggest a narrative that is interested in more than just entertainment. It is an exploration of what it means to be human in an increasingly complex world.

Final Editorial Recommendation

Ultimately, We Want Roses Too serves as a reliable piece of entertainment that will satisfy core fans while providing a solid entry point for new viewers. Whether you are drawn to it by the star power of Anita Caprioli or the critical acclaim surrounding its release, We Want Roses Too is a film that demands to be seen on the largest screen possible.