This feels like a movie with a set of characters and sensibility from a different time. Not to say that it feels like a period piece, but that it is the kind of New York, character-driven human study from the seventies. This has the feeling of a different flavored Kramer vs. Kramer, like a postmodern take on the story. Antonio is the fish out of water thrust into the world of Davide and the Upper East Side, with the tension and truth about his immigration status constantly building up. In this way, La Famiglia has a similar feeling to the drama Call Me By Your Name in the sense of it is an unlikely pairing of two men who, in spite of themselves, fall in love. For me, the best, most compelling dynamic in the story was Antonio’s relationship with Davide’s children, as they, more than anyone, have had to weather the storm of Davide’s coming out, dealing with emotional duress impossible for children their age to understand. It is a wrought and heavy time for them, and the ways that Antonio tries to be both friend and a surrogate parent teaches him as much about the world as he teaches them. Additionally, the fact that Antonio and Davide both have their own sets of compatible secrets, the things they hide from one another even as they grow closer, is a great source of conflict you can lean into more.