Whilst Gomorrah is clearly a gangster film, representing the Naples Camorra, it also resembles the (so-called) fly-on-the-wall documentaries that trace a number of contemporaneous narrative strands about lives in, say, airports or hotels. These, however, use voice overs thereby disallowing them as ‘observational’ documentaries as their meaning is anchored. That said, if Gomorrah had had a voice over I would’ve been able to follow it more readily!
We’re offered several, violent, slices of life that portray existence in the poverty-stricken area (that resembles the Kidbrooke estate in SE London) in the thrall of the Comarra. Silvia Angrisani, in the current issue of Sight & Sound, complains that we can’t understand the social context from the film. However, this is true of this form of documentary; by necessity it shows a limited view. To extend the film to show, say, the role of politicians, would make the film a melodrama (no bad thing). Clearly Matteo Garrone (who, reportedly, is wanted dead by the Camorra before Christmas) wanted to focus on life at the bottom.
Much of the film is shot handheld (the image above is the only stylised shot in the film, a tour de force featuring one of the characters escaping having survived a bloodbath), probably the only way to shoot given the locations, its use of non professional actors and in keeping with its ‘documentary’ feel.
The film also acts as reportage, many won’t know of the Camorra’s role in dumping toxic waste on farmland and the death toll in Naples (one every three days). It doesn’t deal with the corrupt nature of the Italian state, which allows this to happen, but that’s for other films.