
We Can Do That
2008

Representation Score
Good
2010
Director
Ascanio Celestini
Runtime
93 minutes
Average Rating
No ratings yetNew Showbiz Analysis
The film stands out as a character-driven exploration of neurodivergence, placing mental health at the forefront of the narrative. It avoids mocking the protagonist's unique perspective and instead grants him a significant role in driving the story. However, the film lacks breadth in other areas. The setting feels localized and homogeneous, with limited representation of racial and multi-ethnic diversity. Explicit LGBTQ+ representation or queer-coded narratives are also missing. Ultimately, the film's strength lies in its subversion of social norms and its empathetic portrayal of individuals on the fringes of society.
Category Breakdown
The film does not include explicit LGBTQ+ identities or same-sex intimacy. It focuses on Nicola's distant relationship with Marinella, without clear indications of queer-coded storytelling.
Though centered around a male protagonist, the film emphasizes vulnerability rather than traditional masculine traits. The impact of maternal mental illness is a key theme, but women's ability to drive the story is not clearly defined.
As a localized Italian production, the film features a predominantly homogeneous cast. The story focuses on social outsiders without exploring racial or multi-ethnic diversity.
The story critiques social norms by centering a protagonist shaped by mental institutions and family secrets. It challenges the idealization of the traditional nuclear family.
Neurodivergence is central to the narrative. The film portrays Nicola's psychological state and imaginary friends as a valid perspective, actively challenging stigmas related to mental health.
Present on Screen
Limited or Absent
Official Synopsis
Nicola is a man who has spent much of his life in a mental institution, though not always as a patient. Nicola's mother suffered from mental illness, and when young Nicola grew old enough to understand some of her stranger behavior as well as the family's other dark secrets, a few of the adults around him preferred to suggest he was disturbed like his mother, and he was encouraged to visit an asylum not far from his home. As an adult, Nicola has spent enough time around people who have a tenuous connection with reality that he has a superficial resemblance to them, and has developed a strange set of imaginary friends to go along with his eccentric real-life companions and the woman he loves from afar, Marinella.

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