The narrative structure of Capuano’s film Vito e gli altri is reflective of the disjunction of the subjects within their existential and social space. The children populating this film are constantly depicted as peripheral not only to conventional institutions such as the family, school, etc. but also to elements that possibly most accurately define their existence. For example, television is overwhelmingly present in this film and the distance between the children’s lives and behaviour could not be more different from TV’s depictions of idealized childhood steeped in consumerism. Yet that is the normative representation that the children are most drawn toward. Contrast the children in this film to those in classic neorealist films such as ROME, OPEN CITY or Bruno in BICYCLE THIEVES...they come closer to the ones we come to know in PAISA`... the adults in Vito don't fare too well. They are cast in quite awful roles as preoccupied by nothing but power (over children) and guided themselves by a feverish sort of consumerism that is isolating and empty even more than we might imagine. There are no role models for the children at all, and education comes to carry negative connotations that are related to imposition, competition and the inability to teach without violence.
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