While it is everything you'd expect at a surface level the film plays deep and the memory of it (ironically, appropriately) stays with you

This movie captures a fictional biography in such an explorative way. From tragedy to love, we see the pitfalls and resolutions that latch to every human experience. Ultimately, love is the final arbiter of a life fulfilled or tattered with regret. My favorite part of this movie is the ruthless dialogue and stern directing (it must be noted that stern does not mean efficient). The characters take their time and respond in a seemingly natural cadence as if the thought was pondered incessantly on the spot. MUST SEE

One of my favourite movies of Giuseppe Tornatore, a must see!

One of my favorite movies! It’s an Italian movie about a boy who is friends with a projectionist. The he grows up and falls in love. The music was made by Ennio Morricone. There are scenes of old films in this movie.

A beautiful film worthy of all the awards it got.

My second favorite film of all time. Cinema Paradiso is a film that is very personal and very special to me. It scares me because of how similar it is to my life. This film moves me in ways no other film can just by how personal it is. It deeply upsets me and hurts me because of how heartbreaking and how beautiful and how raw the film is and how much it mirrors my own life back when I was growing up in Romania.

A true Italian classic which commentates on topics such as nostalgia, love, and cinema itself.

A true masterpiece and must see for any film buff.

A moving study on the passage of time.

Iconic for sure as a film... Truly the definition of true cinematic beauty...The real beauty of cinema...

The score is amazing!

It's effective at pulling at your heartstrings but it drags towards the end and leaves too many unresolved questions.

If there's a strong cinematic advocation for moviegoing experiences through a narrative, Giuseppe Tornatore's Italian masterpiece "Cinema Paradiso" at the time celebrated the gathering events, only to age finely in eternalizing the commemoration. Though haven't seen Tornatore's prior nor sequential works, why this certain film has been raised by critical acclaim to the top as one of the greatest films of all time, plus frequently seen as a love letter to the movies, generated intrigue above others – besides symbolized as Italian cinema's revitalization that paved way for contemporary classics. Compelled through that entry, the wondrous fascination of the cinema it empathizes with is partially the main theme, however further enriched when branched between how it connects the community and nurtures growth upon witnessing the picture. The proclaimed nostalgia seems to have spoken amid the middle of societal distancing before contrast to the current state when back then it gathers and unites than just facial passersby. The story is told in flashback when filmmaker Salvatore Di Vita receives news from his mother that his friend/mentor Alfredo passed away. He recalls his childhood taken place in a war-torn Sicilian village whereas he discovered escapism just by going to the local movie palace during any free time. His distractive obsession would disappoint his mother and sometimes bother projectionist Alfedo, who would eventually not only teach him the importance of his task but also how it planted his love for film. Young Salvatore grown with further newfound passion for film, eventually taking over the position, with wondrously innovative ideas, and tend to capture moments by camera in interacting with the form, leading him to fall in love with a beautiful girl. The pair's conflictive social status gets complicates and pulls him from his passion, so Alfredo must convince him to leave beyond the small town's limits to pursue filmmaking and explore storytelling by integrating ideas he established during his time as projectionist. Writer-director Tornatore reasonably prophesized the sort of impact cinema arguably still possesses, therefore verifying how much of a timelessly thoughtful classic this acclaimed excellence turned out to be. There are concrete connections evoked through both growth and community towards the cinema as specialized instance observed through Alfredo's hefty background evolved onto his bond with Salvatore, especially when he's aware of the societal limitations that doesn't offer opportunities to further pursue, horizontally expand the passionately inspired potential. Salvatore reluctantly does that in the third act, found opportunities to share his nurtured gifts, and his love for cinema expressed in his pictures meeting critical acclaim with similar results Alfredo witnessed in the projection booth in uniting the audience. These moments ideally resonate in enjoying the little things manifested from youthful wonder to community's welcomed quirky corners, also taking place whenever in the auditorium immersed by the moving picture joining in the collective entertainment while examining different types of moviegoers. The nostalgia here lies in that collective discovery before technological platforms dissected those interests by reductions into certain categories accommodating differential entertainment. While the meaningful takeaway from this is the overarching theme, it was certainly strengthened. Remarkable performances from the cast, especially Philippe Noiret as Alfredo with a definitive standard that seemingly pioneered the term "cinephile" while sharing nice dynamics with both Salvatore Cascio and Marco Leonardi portraying Salvatore as he grows and connects then innovates forward. Both characters display relatability amidst their interaction towards the theme. Both Cascio and Leonardi built the character so well, with Jacques Perrin seamlessly picking up where they developmentally left off. Their scenes are powered by Ennio Morricone's typically mesmerizing score at one of his finest, exceptionally emphasizing feelings, in adjacent to the imprinted set pieces underlying reminiscently and replicating the directorially prompted assignment. His second son Andrea followed by providing a lovely score in one delicately embracing scene between Leonardi's Salvatore and Agnese Nano's Elena. To describe how much Tornatore cares about the quality of his storytelling, what he's trying to communicate by achievement and what's best for the characters with satisfying resolutions, there are two versions to this. The original, which I haven't seen, has a straight-forward focus that can be deciphered in the other version being the extended Director's Cut. In the latter version, after Salvatore paid his respect to Alfredo, he reunites with his lost romance. Honestly, the film dragged on at that point, but it shows how much Tornatore respects his stories to the fullest, wanting to resolve the romantic plot point that was prevented and not leave anything unanswered. Roger Ebert praised the original version as superior, which I agree with as I noticed the direction the film was heading and how it transitions differently under proper buildup. Nonetheless, the longer you find yourself in "Cinema Paradiso", the more you'll appreciate what it stands for under a fantastical vision, which is something worth seeing on the big screen that just might enhance the moviegoing routine. (A-)

The love story with Helena and Toto was not good. How from saying to him that she don't have feelings to him they kiss and became together? I loved Alfredo and the music is fine but the ending what the he'll? Because he had to cut the kisses scenes from the movie because it was not allowed to saw kisses in movies from some reasons he cries and saw the all kisses scene and I'm just watch this and say to my self what the he'll? Anyway this movie is medium for me

Absolute classic with one of the best music scores ever created which reminds us why we love movies and our passion for them.

Okay wow, so where do I start with this one? The actors are great, the story is fantastic and the visuals makes you feel like you are there. The soundtrack by Ennio Morricone hits exactly where it should and the tone is great. From the very first frame to the last it truly is amazing to watch, and the only thing I can say is that if a drama love story is released, if it can't stand up to Cinema Paradiso, it is not worth watching, because it's been made perfectly already. My only slight downside is that the extended version should be standard.

De los mejores soundtracks que existen, grande Ennio Morricone. Y la peli es un clásico.

One of the best movies ever made on cinema. Not the directors cut but the 2hr 35 min movie. Beautiful tale of Life, Love and Cinema in a romantic period of the golden age of Movies.

best movie i’ve seen in 20 years! loved it!

My absolute favourite!