The Caiman

Bruno Bonomo built his fame as a producer of B level films in the 1970s. After years away, he hatches a plan to revive his career by writing a screenplay about Silvio Berlusconi, the media magnate who also dominates Italian politics. He pitches the project to RAI hoping to spark a conversation about power, media, and the line between cinema and reality. But the broadcaster balks, fearing controversy and political backlash. As the project meets resistance from executives who want to steer clear of scandal, Bruno must wrestle with his own ambitions and the price of speaking truth through film. The pursuit exposes tensions between generations, shifts in business, and an uneasy alliance between art and commerce, and the cost.

Directed by Nanni Moretti, The Caiman arrived in 2006 as a drama with comic undertones. The screenplay by Schleef Piccolo and Pontremoli centers on Silvio Orlando's Bruno, supported by Margherita Buy and Jasmine Trinca, with Michele Placido in a role.

Box office receipts total about $10,369,396 worldwide, reflecting a respectful performance for a politically charged Italian film that found audiences in art house venues and in several foreign markets, underscoring Moretti's draw beyond domestic borders and inviting worldwide dialogue.

The Caiman sparked discussion about the link between politics and media in Italy. Moretti uses satire to spotlight how TV power can shape perception, turning the Berlusconi era into a touchstone for debates about authenticity and censorship. It remains a touchstone for discussions on media control and storytelling nationwide today.

Critics noted a deft blend of humor and critique, praising the performances of Silvio Orlando, Margherita Buy, and Jasmine Trinca. The film questions how personal ambition collides with public interest, and it probes the ethics of storytelling when politics and media collide, sometimes wryly, sometimes intently for many viewers today.