EVE AND ADAM ON TOUR

EVE and ADAM is on TOUR, destination: ROMA, MILAN, TURIN, PADOVA, FLORENCE, ANCONA, BARI, TRENTO....

Eve and Adam is a little masterpiece, an alien on a raft upon the Ocean of multiplexes. An eminent, original, frank expression of various forms love takes, grainy like reality can sometimes be. Emotions, tears, smiles, truth. It doesn’t often happen, but when it does, it’s a gift not to be wasted. A must.
M. Pagani IL FATTO QUOTIDIANO

Eve and Adam contains an idea of love as sweeping all-absorbing care for the Other. Fassbinder would be smiling. It was his obsession: love also always means power, control, subjection. A withdrawn but strong auteur (previous films Tu devi essere il lupo and Le ferie di Licu), Moroni set out to shoot a documentary, but he finds himself with characters worthy of a novel. Devotion turns to selfishness, tenderness to loneliness and life in common always seems to conceal a bargaining less crystal clear than may appear at first. More a meticulous surgical knife than a film: quick and sharp, soft and bloody, as it carves “I love you” in the reflected lights and scarlet drops.
Mario Sesti FILM TV

Moroni’s secret is in what he can capture with the camera, which becomes a fictional cinema along the way, almost in the few inches that separate him from his characters. It must be a question of timing, editing, choice of characters. Of sensing the right moment for the attack and the duration of the match.
Silvana Silvestri IL MANIFESTO

First the director frames the feminine “half of the apple”, choosing to assign to the three women, with their accounts and revelations, a reconstruction of the relationships, an interpretation of their love story. The precariousness of the present seems to be partially dissipated by the fluid editing of photographs and home movies that prolong the breath of time and insert the affairs in the whole of a family album, still alive and open, as the choices to be made are still alive and open.
Elena Gipponi DUELLANTI

Eve and Adam is a peculiar and extraordinary cinematographic experiment, just as the stories it tells are peculiar and extraordinary.
Franco Montini VIVICINEMA

A small-scale film that teaches us something about love, a lot about women (Moroni is a naturally feminist film-maker) and also something about fine genuine cinema., in every sense. An A grade.
Boris Sollazzo IL SOLE 24 ORE

Vittorio Moroni’s documentary tells with a delicate touch the stories of various characters who intersect as they take it in turns to gradually reveal themselves. The filmmaker’s point of view, discreet and at times even knowing, aims at probing into the dynamics of relationships, into love’s reasons and into the mutual compensations for existential and emotional lacks. Without falling into rhetoric and with innocent curiosity the director takes us on a journey of discovery into these alien existences. Erika, Deborah and Veronica close Eve and Adam giving the impression they are about to face decisive choices. Imagining their future lives, our wish is that the film’s future will be long and successful.
Michelangelo Salvioni MYMOVIES

If it’s easy answers you want from a film like Eve and Adam, you won’t get them. But if you’re looking for something with the sometimes sour taste of real life, that can move you thanks to frames “stolen” from the intimate lives of people we ultimately end up feeling close to home, then Eve and Adam is certainly the film for you. A work more than worthy of a word-of-mouth that will help make it stay in movie theatres for as long as possible. A release, which though predictably limited, we can welcome with great satisfaction.
Daniele De Angelis CINECLANDESTINO

Young loves, and so (extra)ordinary.
Erika, 76 years old, is married to Moussà, a 35-year-old Senegalese. Deborah, 20, strips on TV unbeknown to her boyfriend. Veronica, 35, has two children from a husband with a serious degenerative illness. Three faces, three stories, three lives in this non-fiction film (the term “documentary” wouldn’t do justice to the creativity and research the director has put into the work), which with its radical story-telling, only apparently focused on the female point of view, plunges the audience into the incandescent material of love. Surprising, extreme, total. So real it seems fake. A rarity at the cinema.
Pedro Armocida IL GIORNALE