We give plastic planes a plastic expansion in space

The fountain pens in Ferrari make a scratching noise that would shame a real fountain pen: the noise is necessary to describe the action. In Toho Studios' excellent Godzilla Minus One a viewfinder Contax fires with the sound of a single lens reflex: the clatter of the mirror and the shutter blind is the same audio effect used by a phone's digital camera, and therefore how all cameras must sound. There were complaints about Ferrari's digital effects in one scene of crash carnage but I'm not sure that's an error. Against the background of Italy and self-conscious art references the melodramatic splay of bodies recalls the bas-relief of Ghiberti's doors. Above all, Ferrari is painting. The speeding races are still. The movie is a machine about a machine, its picturesque landscapes sliced up by roads, its characters crushed. Although it echoes Marinetti's Manifesto of Futurism ('beautiful ideas worth dying for, and scorn for woman') the Ferrari of the story is not Enzo but Laura. Penélope Cruz is the movie's power.