Referred to as neo-realist cinema to that movement which appeared after the second world war with a purpose beyond the recreational. These avant-gardes of the film sought to transform, rather than how to make cinema, the way to see it. In times of Italian fascism, were only permitted productions illustrating a perfect Italy, that wanted to create in the minds of the masses: i.e. an Italy without poor, smoothly, without corruption, while the reality that is lived was very different. These almost exclusive productions of campaign gave a twist, during the post-war period, a more poetic cinema which was focused, not narrative, but the emotion of the story, in a: be more emotional, than be epic. These cinemas began showing the reality of people’s lives after the devastation of the war period: poverty, death, social division and the destruction of the nation.

Even so, the followers of this school (as you call it some) respected certain patterns that were intended, as she has already been said, breaking with the previous model. Authors like Soldati, Lizzani and Alessandrini believed in the need to bring that voice to the people that she would listened, making film of an aesthetic sequence to an energetic speech that sought, above all, a reaction in its audience. For that reason, the Hollywood production model leaves behind and becomes a very wide in the speech focus; This generates a little philosophy of the almost blatant sacrifice of neatness and technique, to achieve a greater emphasis on the effectiveness of the transmitted message; because the neorealist film can only be understood under these effects of the direct-viewer relationship. Looking for these intentions, the neorealist film changes many traditional moulds for the creation of cinema: first, he sought to give greater weight to the speech of the actor and that this represented, so the character went from being an isolated element that drives, to be part of your environment and one with its history.