Daily #5

Succederà questa notte_The Rolling Stones are taking this rock-heavy Festival by storm. Out of Time serves as a cornerstone in McDonagh’s Wilde Horse Nine, while She’s a Rainbow is the flagship song of Moretti’s new film. By “flagship,” we mean those tracks Moretti uses as bait to pull people in around him and get them dancing: Khaled’s Didi in Caro Diario, or Battiato’s Voglio vederti danzare in A Brighter Tomorrow. Moments where the film veers away from narrative progression to enter an emotional clearing where every destiny intersects and blurs.

Moretti doesn’t simply drop a killer track onto the soundtrack like almost everyone else, nor does he use music merely to sweep his characters into a shared narrative vortex (Paul Thomas Anderson’s Magnolia comes to mind). Instead, Moretti halts the film entirely to witness the disruptive, infectious arrival of a song into ordinary lives. In doing so—by celebrating the total emotional surrender such moments demand from the human spirit—the narrative resets to zero before starting up again. They function almost like civic litmus tests: facing a pop song, we are all equals.

The soundtrack to It Will Happen Tonight is truly unforgettable. Beyond the flagship anthem, there is that extraordinary interlude at a Bruce Springsteen concert, captured live. Aside from revealing an unsuspected rock sensibility in Moretti—though who could forget that luminous scene at the end of The Son’s Room, where the family finds its first flicker of peace to Brian Eno’s By This River—a small objection must be raised: The Boss’s sets may be legendary marathons, but you don’t fly two hours to another country only to leave halfway through. Heart condition or not.

Finally, there is the original score by Alberto Iglesias, Almodóvar’s master composer collaborating with Moretti for the first time. We hear him right from the stunning opening scene through the streets of Stockholm, bearing all of Iglesias’s hallmarks: refined chamber arrangements laced with an undercurrent of tension and unease.

Three distinct musical threads, each vital to the film’s imaginative architecture. It is a work teeming with tracks and subplots that at times threaten to weigh it down, only to dissolve gracefully in the finale like a secular fairy tale. Moretti pulls off a true conjuring trick here, delivering a film that defies every rule—thriving on a nervous, volatile freedom that is as fragile as it is luminous.