Seconda primavera spreads like a delicate melody for images over six seasons, developing Calogero's own screenplay, full of sophisticated references and elegant influences.
Franco Cicero, Gazzetta del Sud
An insinuating parable about the stages of life and their unexpected riches. Unusual, laborious, it doesn't try to be catchy. But subtle and persistent, like some soft scents which remain inside you.
Fabio Ferzetti, Il Messaggero
What's more difficult than touching an eternal topic, the starting point of each story, like a love affair? Calogero hangs it in space, transforms it into a dance, a kind of vertigo, a mirror of all existence.
Cristina Piccino, il manifesto
The sea of memories, the nostalgia of an irretrievable past, the possibility of a rebirth...
Fulvia Caprara, La Stampa
Calogero goes on a personal journey out of the current schemes, focusing instability in relationships, and the indecipherable human feelings...
Luca Barnabé, Ciak
As in his previous feature films, the atmosphere created by Calogero is rarefied, suspended, subdued, with a largely discreet charm.
Giovanni Bogani, La Nazione
A film only for the few, intelligent and sensitive, vague and maybe a bit fragile, which avoids all the easy ways out of Italian cinema today.
Roberto Nepoti, La Repubblica
Elegance in directing, powerful writing, witty humor, great skill in dealing with different settings (either comic or dramatic): all this makes Seconda primavera a very unusual film in the contemporary Italian scene.
Alessandro Aniballi, Quinlan
Seconda primavera works as a wonderfully outdated tool for Calogero's tough conviction to pursue a cinematic space-time control, totally personal and subjective, and however constantly torn by shreds of present, eager to enter into vision.
Sergio Sozzo, Sentieri Selvaggi
By his intact “gentle touch”, Calogero builds an ensemble film inside other frames - the seasons, with a double winter and a double spring. A film populated by characters, encounters and existential passages, always described and shot with flagrancy and clear view.
Giuseppe Gariazzo, Duel
This waltz feelings insinuates in us little by little this music, this touch proper to its author, during six revitalizing seasons.
Alain Bichon, Dossier de presse Annecy Cinéma Italien
Seconda primavera wrings deep emotional heartstrings with grace, facing sincerely weaknesses and fears that affect ordinary people's lives.
Gabriele Spila, Vivilcinema
Intimate slant, soft-spoken dialogues - unlike many comedies about sentimental wounds - this beautiful film causes us to reflect also on religion and customs.
Maria Lombardo, La Sicilia
Describing an existential spring, Calogero recounts also the awakening of a slumbering world.
Paolo Baldini, Marilyn/Corriere della Sera
It’s funny, with bittersweet overtones and a sharp insight into the trouble we all get ourselves into both by telling the truth and by engaging in subterfuge.
Andrea Chase, The New Fillmore
Calogero's originality is perceived in this postmodern dimension of his directing work, a possible model of an artistic ambition able to balance authorial aspirations and popular success.
Giuseppe Borrone, Cineforum La Perla
Calogero delights us with an apparently simple story, whose features remind us, for intelligence and style, of Eric Rohmer's cinema.
Filippo Chinellato, Dark Side
The atmosphere looks like a Mediterranean Rohmer, for his discretion in approaching to each character's everyday life (Andrea's above all, with all his secrets), knowing well how to make it so interesting.
Margherita Fratantonio, Taxi Drivers
The "second spring" of this seasonal cycle, more inspired to Ozu than Rohmer, seems to give to the main character the possibility of a return to life, through a new love. But it's only an illusion. Unpredictability and mystery shroud the strongest one among human feelings, leaving the door closed to easy solutions.
Danilo Amione, Scenario - Inscenaonline
A poetic film in which feelings, and the related relationships, are never shouted, never outsized; what really matters are human stories, lurking beneath the skin while winding mildly.
Francesca Interlenghi, The Dummy's Tales
Calogero creates a narrative score that is complex, multi-layered and rich with subtexts and references to literature, music, film.
Leonardo De Franceschi, Cinemafrica
Through a highly cultured citation of classical and medieval world, Calogero builds the idea of the garden as hortus conclusus, secret space of hidden vitality, as well as intimate and emotional evocation, condensing in its image the deeper meaning of the film.
Antonella Rubinacci, Wild Italy
The structure of characters sounds sincere, as his genuine look on a return to life, and the display of feelings. From this point of view, the film has an unquestionable value by its human warmth and a serene sense of acceptance of the mystery of life.
Alessandro Izzi, Close Up
There's no shortage of attraction for something elusive and mysterious, created by the Sicilian director in terms of writing and images.
Maria Lucia Tangorra, Cultura & Culture
Found and lost love affairs, nostalgia for a time gone by, jealousy, selfishness and freedom are the issues of men and women whose emotional instability lies at the core of this film. An intimate cinema, a delicate touch in a wonderful place like Sicily.
Mario Dal Bello, Città Nuova
