Film
The Invisible Thread
A Italian family comedy about a teenage boy making a documentary about his two dads, only to have real life throw an unexpected curveball. It's warm and funny without being saccharine, genuinely interested in how ordinary people navigate extraordinary circumstances. For anyone who loves films that find humour in mess and love in messiness.
Should you watch it?
Watch it if you enjoy character-led family stories where a teenager's amateur camera slowly exposes the adults he's trying to understand, and where comedy and heartache share the same scene.
Skip it if you need a tight, plot-driven film, since this one is looser and more episodic, relying on mood and warmth over momentum.
What it asks of you: Across about 109 minutes it keeps an unhurried rhythm, drifting between light domestic comedy and quieter, heavier moments without much warning.
Not sure? Find tonight's pick in a minute.
If you liked this
Hunt for the Wilderpeople2016
A road movie about an unlikely pair—grumpy old man and defiant kid—finding connection in the New Zealand bush. Taika Waititi captures tenderness and comedy with equal skill, never condescending to either character.
But The humour skews very dry and specifically Kiwi; if you prefer broad laughs, this will feel understated.

Call Me by Your Name2017
A sensual, intelligent film about desire and connection that respects its characters and audience. Luca Guadagnino finds beauty in ordinary moments between two people discovering each other.
But Deliberately paced and introspective; it moves slowly and asks patience. Some find it precious rather than profound.

Moonlight2016
Three chapters of a Black man's life, told with visual poetry and emotional depth. It's about identity, desire, vulnerability—and how we become ourselves despite what the world tells us we should be.
But Sparse dialogue and a dreamlike tone mean it won't hand you its meanings. Requires active viewing.

Not sure tonight? Get a pick in a minute, starting from The Invisible Thread
The wildcard
Something you would not have found on your own.
Kajillionaire2020
Both films use family documentary-making (literal or figurative) as a way to excavate hidden truths. Both ask what it means to see your family clearly when you're also part of the frame.
A con-artist family drama that's formally inventive and genuinely strange. Miranda July finds absurdist humour in trauma and dysfunction, and the film's visual language—tight framing, odd angles, sudden shifts—mirrors its characters' distorted thinking.
But It's deliberately disorienting and the emotional payoff is subtle rather than cathartic. If you want comfort, this isn't it.

More like this (8)
The Father2020
A film about family obligation and love that doesn't sentimentalise either. Anthony Hopkins and Olivia Colman navigate care, frustration, and devotion with devastating honesty.
But Watching someone's cognitive decline is hard. It's necessary hard, but hard nonetheless.

Céline and Julie Go Boating1974
A playful, mysterious film about two women whose friendship becomes its own kind of magic. It's visually inventive and structurally audacious in ways that still feel fresh and strange.
But Jacques Rivette lets scenes breathe; at over three hours, it demands you surrender to its rhythms or resist them entirely.

The Farewell2019
Lulu Wang's film about a Chinese family keeping a terminal diagnosis secret captures cultural difference and family love with humour and heart. Funny and devastating in equal measure.
But If you're unfamiliar with the cultural context, some dynamics might read as strange rather than rich.

Tomboy2011
A subtle, empathetic French film about a child exploring gender identity over one summer. Director Céline Sciamma observes without judgment, letting moments breathe and feelings be complicated.
But Nothing dramatic happens; it's a film about interior shifts. If you need clear narrative momentum, this isn't it.

Aftersun2022
A father and daughter holiday in Turkey becomes a meditation on what parents hide from their children and what children intuit anyway. Visual and emotional without being maudlin.
But Deliberately oblique; it won't explain itself. Some read it as self-indulgent rather than poignant.

American Honey2016
Andrea Arnold follows a carful of working-class kids across America with raw energy and surprising tenderness. It's alive in a way most films aren't, grounded in real bodies and real struggle.
But Nearly three hours, sometimes shapeless, and unafraid of ugliness—both beautiful and exhausting in equal measure.

Krisha2016
Both films collapse the boundary between documentary and fiction, using intimacy with real people (family, in both cases) to explore how we document love and failure.
García Márquez's debut film follows his own family—non-actors, his real home, his actual anxieties—over two hours of hypnotic, observational cinema. It's patient, precise, and quietly devastating about addiction, recovery, and what we owe each other.
But Very slow, almost documentary in feel, and deeply pessimistic about redemption. Long stretches of nothing happening. Acquired taste.

The Half of It2020
Both find comedy and tenderness in families that don't match the template, and both centre on a young person documenting or revealing what's been hidden—desire, identity, the gap between appearance and truth.
Alice Wu's film about a queer teen ghostwriting love letters is a gender-flipped Cyrano that's smart, funny, and genuinely touching. It treats teenage longing seriously without being precious about it.
But A Netflix teen drama; if that format immediately turns you off, nothing here will convince you otherwise.

People
Cast
Filippo TimiPaolo Ferrari
Francesco SciannaSimone Lavia
Francesco GheghiLeone Ferrari
Emanuele Maria Di StefanoJacopo Venosa
Matteo Oscar GiuggioliDario Del Monte
Giulia MaenzaAnna Del Monte
Jodhi MayTilly Nolan
Valentina CerviMonica Ferrari
Gerald TylerLeroy Liotta
Mauro ConteRiccardo Morselli
Alessia GiulianiElisa Del Monte
Tim DaishProf. John Martin
Directing
- Marco S. PuccioniDirector
- Giorgio ServilloFirst Assistant Director
- Stefano FelicioniScript Supervisor
- Michele LeonardiSecond Assistant Director
- Nicola ZapparoliSecond Assistant Director
Writing
- Gianluca BernardiniDialogue
- Luca De BeiScreenplay
- Marco S. PuccioniScreenplay
- Marco S. PuccioniStory
Production
- Laura MuccinoCasting
- Davide BertoniExecutive Producer
- Gennaro FormisanoExecutive Producer
- Valeria GolinoProducer
- Viola PrestieriProducer
- Letizia PalatielloProduction Coordinator
- Daniela MoramarcoProduction Manager