I'm a huge Spielberg fan, so be warned that the story might connect more with me, even if I don't think that was essentially the case. I believe that this is an interesting, emotional and fun - at times - coming-of-age film that will appeal to anyone who is an artist - or feels a bit artistic - and anyone who often feels torn between that world and the real world.

The truth is, the first 25-30 minutes didn't work out that well for me. The story didn't grab me, the family didn't captivate me right away and it all seemed quite disjointed. It is from the moment we realize that there is a certain secret in that family that the drama increases, which curiously improves the part of the film related to "being an artist". It is in these small familiar films that the young man realizes what he can discover through films, expressions and attitudes that are better demonstrated through images than words. When the "young Spielberg" shows his films to other people, it is also clear how much they touch other people, the feelings that these films awaken, saying through them much of what he even has difficulty saying to their parents. This tells him enough: this is his gift.

The dialogue is fantastic. It is the high point of The Fabelmans. Almost every five minutes we have a phrase, an expression that can accompany us for a long time, especially when we are in a creative process, but also when we have to deal with ever-present family problems. Spielberg is a master at managing these types of relationships and, yes, of course, he once again uses the dinner table perfectly to show us the different stages of relationships (compare between dinner parties!). Gabriel La Belle surprised me with an excellent performance in which many moments made me believe I was watching the young Steven Spielberg. The artist, the son, the bullied, the dreamer, the introvert, and the person. Michelle Williams is fascinating as his mother, Mitzi. Sometimes over-the-top (clearly on purpose), sometimes in another world (the world of...sad artists), but always with a huge emotional charge. Paul Dano has the character I least identified with, but he is probably faithful to the family's father Burt and does what the role requires. Finally, Judd Hirsch as Uncle Boris shines in a short but very funny and impactful passage through the film.

From a technical standpoint, the cinematography is brilliant - jaw-dropping shots, moving camera - and the production design recreates that era quite believably, but it's John Williams' score that often helps to punctuate the emotions.

I don't consider it one of Spielberg's best - I'm sorry, but Spielberg is the director with the most masterpieces in history, don't want to fight - nor do I think it's a better film than his previous one (WSS). It is, however, a very good film that even starts badly, but balances on its emotions, in strong characters and, above all, in its various deep meanings.