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I delitti del BarLume - La carta più alta

I delitti del BarLume - La carta più alta

2013

Director

Roan Johnson

Average Rating

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Diversity & Representation

Overall Score

4.5/10

Fair


Category Breakdown

LGBTQ+ Representation

Fair

The film lacks explicit evidence of LGBTQ+ characters or narratives that critique heteronormativity. It maintains a neutral baseline for a regional crime-comedy.

Gender Representation

Fair

The cast shows a balanced distribution of male and female actors, including Enrica Guidi and Lucia Mascino. However, the narrative's stance on gender hierarchies remains unverified.

Racial & Ethnic Diversity

Limited

As a regional Italian production, the film likely reflects the demographic homogeneity of its setting. There is no evidence of casting intended to disrupt traditional norms.

Religious & Cultural Diversity

Fair

The story appears to function within standard genre conventions. There is no verifiable evidence of an anti-capitalist or overtly secularist agenda within the narrative.

Disability Representation

Fair

There is no information regarding the inclusion of neurodivergent characters or individuals with physical disabilities. The representation remains at a neutral baseline.

Strengths

  • The cast features a balanced distribution of male and female actors.
  • The film engages with specific regional identities and social idiosyncrasies.

Areas for Improvement

  • The narrative lacks evidence of diverse racial or ethnic representation.
  • There is no documented inclusion of neurodivergent or disabled characters.
  • The film does not explicitly address LGBTQ+ themes or heteronormativity.

AI Analysis

I delitti del BarLume - La carta più alta operates as a conventional regional crime-comedy. The production focuses on localized social structures and standard genre tropes rather than progressive structural disruption. The film's demographic profile appears to mirror its specific Italian setting, resulting in a lack of racial and ethnic variety. While the cast is gender-balanced, the character dynamics do not explicitly challenge traditional social roles. Ultimately, the work lacks documented evidence of intersectional agency or the intentional deconstruction of social institutions, resulting in a score that reflects a standard, non-subversive cinematic approach.

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