Jonas Carpignano made a series of films set in Calabria, a region in southern Italy infamous for its criminal activity. For example, in Mediterranea (2015), he focuses on the plight of refugees from Burkina Faso, and in A Ciambra (2017), he tells the story of a gipsy boy who pretends to be an adult to survive. In this, his third film, he does not specifically mention the region, but continues to tell the stories of marginalized and oppressed members of Italian society. A Chiara centers on a fifteen-year-old girl whose father who is involved in a crime and then disappears, Chiara traces the truth hidden behind the veil of wealth and happiness of her family. The film reveals that there are levels in crimes. The higher it is seated, the uglier its face is disguising with glamor. The long sequence in the latter half of the film where the father and the daughter walk together is highly realistic. The film is less pessimistic in its ending than his two previous films are. It is in question, however, if we can call it hope. (LEE Yong Cheol)