{"id":6675,"date":"2026-07-04T14:24:41","date_gmt":"2026-07-04T14:24:41","guid":{"rendered":"https:\/\/notofu.com\/new\/?p=6675"},"modified":"2026-07-04T14:37:47","modified_gmt":"2026-07-04T14:37:47","slug":"the-last-one-for-the-road","status":"publish","type":"post","link":"https:\/\/notofu.com\/new\/the-last-one-for-the-road\/","title":{"rendered":"The Last One For The Road: The Geography of Letting Go"},"content":{"rendered":"\n

There are road movies, and then there are road movies where nobody quite knows where they are going \u2014 and that is precisely the point. The Last One for the Road<\/em>, Francesco Sossai\u2019s sophomore feature, released on VOD on June 16, 2026, is one of those rare films that manages to feel simultaneously aimless and deeply purposeful. Winner of ten David di Donatello Awards \u2014 Italy\u2019s equivalent of the Oscars \u2014 including Best Film, Best Director, and Best Screenplay, it arrives with serious credentials, even if its heroes most decidedly do not.<\/p>\n\n\n\n

We meet Carlobianchi (Sergio Romano) and Doriano (Pierpaolo Capovilla) asleep in a parked car, oblivious to a green light, until an irate horn jolts them back to life. \u201cShall we have one last drink?\u201d Carlobianchi groggily asks. And so begins a journey that is less a road trip than a prolonged, affectionate stumble through the Veneto region of northern Italy \u2014 a landscape of abandoned buildings, shuttered restaurants, and half-finished houses left behind by the collapse of a once-booming economy. These two washed-up small-time crooks have a plan: pick up their old partner Genio from the airport after years of self-imposed exile in Argentina, and perhaps dig up some long-buried cash along the way. They cannot quite remember which airport he is flying into.<\/p>\n\n\n\n

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Sergio Romano, Filippo Scotti, and Pierpaolo Capovilla in\u00a0The Last One for the Road<\/em>.\u00a0<\/figcaption><\/figure>\n\n\n\n
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What makes the film so unexpectedly moving is not the caper \u2014 which proceeds with cheerful incompetence \u2014 but the texture of the world Sossai has built around it. Shot on 35mm and Super 16mm by cinematographer Massimiliano Kuveiller, the film finds real beauty in desolate spaces and weathered faces, drawing comparisons to the melancholy visual world of Finnish director Aki Kaurism\u00e4ki. This is not the Venice of tourist postcards, but a quieter, more honest Italy \u2014 one ravaged by globalization, nostalgic for what it has lost, and not entirely sure what it has gained.<\/p>\n\n\n\n

Along the way, the pair befriend Giulio (Filippo Scotti, memorable from Sorrentino\u2019s The Hand of God<\/em>), a shy architecture student who gradually warms to their rambling philosophy and drunken generosity. Their influence on him is real, even if the lessons are hard to pin down \u2014 words of wisdom tend to get swallowed by a helicopter overhead or lost in the fog of the next morning. \u201cWe know fuck all,\u201d Doriano tells Giulio near the end, \u201cbut we know everything.\u201d That paradox is the film\u2019s beating heart.<\/p>\n\n\n\n

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Sergio Romano and Pierpaolo Capovilla in\u00a0The Last One for the Road<\/em>.
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Funny, tender, and shot through with the particular sadness of things that cannot be recovered, The Last One for the Road<\/em> earns its place alongside the great picaresque road movies of European cinema. <\/p>\n\n\n\n

The Last One for the Road<\/em> is streaming right now.<\/p>\n","protected":false},"excerpt":{"rendered":"

A film about two men going nowhere in particular, and everything they find along the way.<\/p>\n\t\t

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