There's a shagginess here that, at least in the first four episodes screened for press, always threatens to devolve into aimlessness, and Guadagnino's intimate impassiveness can lead to confusion. Nothing about these characters seems fixed and resolved, which is why We Are Who We Are feels like such a startlingly truthful depiction of adolescence, in all its confusing, and often thrilling, fluidity.īut this same fluidity is reflected in the series itself, which refuses to make its characters slot into anything so tidy and prosaic as a plot.
Guadagnino's camera weaves in and out of these lives as various characters make good choices and bad (mostly bad), capturing moments that approach the spontaneous and raw-edged feel of cinema verite.
