Watch I'm Not Scared For Free

How sad is this?

For all the hype it got I was expecting a lot more!

Excellent, Without a doubt!!

A clunky actioner with a handful of cool moments.

Long time i didn't watch such a natural movie where characters act as they are, simply human beings.We often see egoistic, narcissism behavior and in many movies characters behave like nobody in real life. In this one you see people acting like people, the way how they dressed to the way how they behave-everything seems normal, they are people right? Not some fake Holly_Wood(A.K.A. Bullywood) horrible persons from fake ping glass world that make you to puke. This is the reason why Europe production is powerful, especially Italian. It's unique,intelligent and most important: They respect viewers, they don't assault intelligence of viewer. You definitely must watch this movie, don't miss it.

With its great plot, this is one of the best foreign films out there. It achieves what can't be done in America with its artistry, openness, sorrow and desire; all while sometimes being very simple. "I'm Not Scared" has convincing characters, a realistic feel, great acting, and is always interesting. Do not ignore seeing this movie! You should not regret watching it in the slightest. It is a movie not just worth seeing, but worth owning in my opinion. It saddens me to know that most people probably have never seen this film or read the book, which encouraged me to write this review. If you are looking for a movie to add to your watchlist, look no further.

www.film-studies.net In a welcome addition to the list of texts,Leaving Certificate students in Ireland are being given the chance to study "I'm Not Scared" as part of their Comparative Study in English.Michele, a young boy living in the poverty of "Southern Italy 1978" starts to realise that he does not have to behave exactly as others, especially his parents, tell him to do. In the early scenes of the film he discovers in himself a moral sensibility that compels him to rescue a maiden in distress. In doing this he goes against his peers. His main motivation at this point in his life is to stay out of trouble with his parents, so he has to return to the site of this deed to retrieve his sister's glasses, which he had lost. This introduces the theme of seeing clearly which runs through the rest of the film. He discovers a black hole and peers into the darkness. What he sees there comes to act as a symbol for all the fears that children have of the world around and ahead of them. At first there is only horror but gradually Michele sees the beauty beyond that horror as he takes more and more responsibility for what he has found in the darkness. In the end he learns to do the right thing because it is the right thing to do, regardless of the commands of his father. The photography and use of colour are remarkable in this film as is the use of point of view which shows the action throughout the story from the perspective of the child. A rich layer of irony covers the narrative as the audience can see many things in the story that Michele fails to notice. Various themes are explored: childhood and adulthood, good and evil, secrets, growing up and developing a conscience inter alia. The imagery is extremely rich and the camera is used as part of that imagery e.g. in the scene in which Michele comes back to the village after falling from his bicycle: the camera-work unites all the people of the village and excludes Michele. The scene then culminates with his father actually banishing him from the community. The varying palette of colours from purple and red flowers, golden corn and blue skies to the grey clouds of the thunderstorm and the darkness of the hole, the kitchen and the night offer much food for thought as the film unfolds. For Leaving Certificate students in Ireland and viewers all over the world this film provides much to think about and savour.

What comes to mind right now is my thought that perhaps this is the movie Guillermo Del Toro was going for with Pan's Labyrinth, a story of a young child with a penchant for games and fantasy who is ennobled by how they interact with the dark, twisted, dangerous adult world that functions as a backdrop. But Gabriele Salvatores' film unfolds that adult world from the naïve point of view of the child rather than striving for equally balanced screen time for both perspective realms. The child here, Michele, overpowers the fears and doubts propelled by his fantasies to topple the evil of his increasingly estranged reality, rather than pushing his head further into the clouds and away from the oppression below. But I do not want to critique Del Toro's imaginative, widely appealing surrealistic film; I want to talk about Salvatores' expansive, quite eclectic psychological one.The film opens by telling us we are in 1978, during Italy's "Years of Lead," as informally dubbed the period in Italy which gives context to certain shocking turning points in the plot. But it is better not having as much knowledge of that, as I didn't when watching this movie for the first time. Indeed, we feel as if we've been placed in the backwoods underside of the Italy modern films from or set in that country don't tend to show us, not to mention with such intimate, subjective detail. The film takes place in a fictional town in Southern Italy, during the hottest summer of the century. The town is of unprecedented smallness, and it appears to be dying out. The community children's idea of fun and games has to do with exploring abandoned farmhouses, agreeing to be coerced into doing humiliating or dangerous things if you lose a race and trading toy trucks for secrets.The mystery that pervades the entire film compels me to advise that discovering any details of the plot itself is putting yourself at a disadvantage. We are "kept in the dark" (inside joke) as the fear, naivete and willpower of young Michele only allows us to discover things a little bit at a time, creating a great deal of tension purely in our minds. What adds to the inescapable mystique is that we are never entirely sure of how to pigeonhole its genre, and so we are never quite able to predict what will happen next. By the ten-minute mark, we are gratified by a tell-tale sign of a psychological thriller, but we are never hurtled into the kind of tone and mood we expect. The vivid scenery---many views of fields and hills of wheat, this endless land being the backyard for the town children and the setting of their childhood adventures---employs an acutely emboldened, clear-cut primary color scheme to depict how Michele, as a nine-year-old boy, sees the world, fixating on particular items of fascination with close-ups. The seemingly broad, overtly emotional music score, though chiefly performed by a string quartet, from the start permeates the film too much for one to expect any dramatic tension to build, and boy does one turn out to be wrong