viewers unafraid of subtitles. I
enjoyed season 1 and worried it
was too dutiful in its re-creation
of the novels (which I adore). Sea-
son 2 still has some scenes that
feel like undigested (wonderful)
prose, plus a voice-over that mur-
ders all subtext.
But series creator Saverio Cos-
tanzo, who directs most episodes,
gets more visually audacious in his
dramatization. The premierefeatures a terrifying marital
assault on Lila’s wedding night.
The couple return home for a big
family meal, bride’s face beaten
blue. Costanzo films the dinner
mostly from Lila’s perspective, so
we watch everyone double-taking
over her bruise. Mother, father,
brother, in-laws, siblings: Nobody
says anything. It’s a devastating
portrait of the culture of silence.
There are so many moments like
that in My Brilliant Friend, well-
appointed period-piece drapery
shockwaving into Feminist Hor-
ror chills.
The three episodes I’ve seen of
the eight-part season evoke Lenù’s
expanding political conscience
and Lila’s boiling rage. This is still
sumptuous getaway TV—and the
opening credits tease an upcom-
ing trip to Ischia, Ferrante’s
preferred island for tormented
love and unspeakable lust. Credit
Costanzo for filling the cast with
memorable faces. Amura’s Stefano
is an ego-tripping grotesque, his
baby face and Pete Campbell hair-
line rendering him the world’s
youngest dirty old man. Anna Rita
Vitolo imbues Lenù’s mother
with a toughness barely masking
hardscrabble sorrow. The world
around this great ensemble
changes quickly: neighborhoods
building skyward, loosening tradi-
tions, bright ideas, old problems.
Lila and Lenù seem to be learning
about society just in time to watch
it burn. With any luck, they’ll light
the match. A– —DARREN FRANICH↓ Lila and Stefano (Giovanni Amura) experience marriage Italian styleEDUARDO CASTALDO/HBO (2)Re
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