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Drama, Fantasy • 2018 • 128 min • Teen (13+)

Happy as Lazzaro follows a gentle, almost saintly young sharecropper in rural Italy whose innocence survives systems designed to grind people like him into nothing. Director Alice Rohrwacher wraps a class-critique fable in magical realism, using Lazzaro as a moral mirror held up to feudal and modern capitalism alike. The Progressive label reflects that core: exploitation of the rural poor drives the story, biological family appears as a hierarchy of control rather than warmth, and the film treats Lazzaro's intense bond with a wealthy boy with quiet dignity. Christianity surfaces as a positive undercurrent, but it softens rather than counterbalances a film whose political sympathies are clearly aligned with the dispossessed.
Adriano Tardiolo • Agnese Graziani • Alba Rohrwacher
Happy as Lazzaro follows a gentle, almost saintly young sharecropper in rural Italy whose innocence survives systems designed to grind people like him into nothing. Director Alice Rohrwacher wraps a class-critique fable in magical realism, using Lazzaro as a moral mirror held up to feudal and modern capitalism alike. The Progressive label reflects that core: exploitation of the rural poor drives the story, biological family appears as a hierarchy of control rather than warmth, and the film treats Lazzaro's intense bond with a wealthy boy with quiet dignity. Christianity surfaces as a positive undercurrent, but it softens rather than counterbalances a film whose political sympathies are clearly aligned with the dispossessed.
Adriano Tardiolo • Agnese Graziani • Alba Rohrwacher
The film's central narrative is a profound and allegorical critique of systemic economic exploitation and the enduring vulnerability of the innocent under both feudalism and modern capitalism, aligning with progressive critiques of power structures.
The movie features a cast that reflects the specific rural Italian setting, with diversity in age and socio-economic background, but without explicit race or gender swaps of traditionally defined roles. The narrative critiques class exploitation and power structures rather than explicitly targeting traditional identities like 'white' or 'male' in a DEI context.
The film features a deeply significant, queer-coded bond between Lazzaro and Tancredi, characterized by intense devotion and a chosen familial connection. This non-normative relationship is portrayed with profound dignity and emotional depth, serving as a central theme. The narrative affirms the worth of Lazzaro's unconditional love and loyalty, even as it critiques the power imbalances and exploitation within the relationship, rather than the nature of the bond itself.
The film critiques traditional family structures by portraying them as exploitative and dysfunctional, particularly through the Marchesa's control over the sharecroppers. It implicitly endorses alternative, chosen family bonds formed among marginalized individuals, highlighting loyalty and mutual support outside conventional norms.
The film presents Lazzaro as a Christ-like figure, embodying virtues of innocence, selflessness, and unwavering kindness. His narrative arc, including a symbolic 'resurrection,' affirms these qualities as inherently good and powerful, even in a corrupt world.
The film 'Happy as Lazzaro' does not feature any identifiable transsexual characters or themes. Its narrative primarily focuses on the life of an innocent peasant, Lazzaro, and the exploitation of a sharecropping community, exploring themes of class, time, and human nature without engaging with transgender identity or related issues.
The movie does not contain any action or adventure elements.
The film "Happy as Lazzaro" is an original story with characters created specifically for this production. There is no prior source material, historical record, or established canon from which character genders could have been swapped.
The film is an original story featuring characters created specifically for this production. There is no prior source material, historical record, or established canon from which any character's race could have been altered.
Not depicted in the film.
Combines user and critic ratings from four sources























