---
title: "Pinocchio"
year: 2019
kind: "film"
canonical: "https://film.one/film/pinocchio-2019"
fi1m_id: "pinocchio-2019"
imdb_id: "tt8333746"
tmdb_id: 413518
wikidata_id: "Q65126245"
fi1m_score: 76
critics_score: 71
critics_reviews: 14
published: "2026-10-03T01:36:34.752046+00:00"
updated: "2026-10-03T01:36:35.540515+00:00"
region: "EC"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Pinocchio (2019)

Directed by Matteo Garrone · 2h 04m · Drama, Family, Fantasy

## Identity

Pinocchio

- **Canonical:** https://film.one/film/pinocchio-2019
- **Type:** Film
- **Fi1m ID:** pinocchio-2019
- **IMDb ID:** tt8333746
- **TMDB ID:** 413518
- **Wikidata ID:** Q65126245
- **Same entity:** https://www.imdb.com/title/tt8333746/, https://www.themoviedb.org/movie/413518, https://www.wikidata.org/wiki/Q65126245

**Fi1m score: 76** · Critics 71 from 14 reviews

*In a sentence:* A wooden child ought to be easier to stop worrying about

> Matteo Garrone gives *Pinocchio* a vulnerable wooden face and a father worth worrying about. The creatures and performances make this an affecting fairy tale, though its episodic storytelling needs more discipline.

## Synopsis

In nineteenth-century Italy, Mister Geppetto (Roberto Benigni) has little money and a wooden child to care for: Pinocchio (Federico Ielapi). The boy wants to become human, but the people around him do not make it easy to learn what that means. His father’s affection offers some protection in a place where poverty and cruelty are ordinary hazards. Among the figures in the boy’s path are Mangiafuoco (Gigi Proietti), Volpe (Massimo Ceccherini) and Gatto (Rocco Papaleo). Human beings and creatures occupy the same world, leaving Pinocchio to work out who deserves his trust.

## Review

Matteo Garrone’s [*Pinocchio*](https://film.one/film/pinocchio) is tender, unsettling and worth the patience its uneven storytelling requires. Adapting Carlo Collodi’s novel, he makes the poverty surrounding the wooden boy impossible to ignore. There is pleasure in the creatures, but little suggestion that childhood protects anyone from adult selfishness. This is a family fantasy with enough affection to make its harshness bearable, though some of the lessons are delivered too heavily.

Roberto Benigni gives the film its most dependable source of warmth. As Mister Geppetto, he makes fatherhood seem like work undertaken gladly by someone who has little to spare, and keeps the tenderness free of fuss. The performance gives the dangers facing the boy a consequence beyond the next fright: someone loves him and has good reason to worry. The film is less affecting when its successive encounters push that concern into the background for too long.

Federico Ielapi’s Pinocchio deserves that concern without being made conveniently sweet. The convincing wooden prosthetics leave him looking both childlike and difficult to read, which lets his human responses catch us slightly unprepared. We found his face unexpectedly moving; there is a child trying to make himself understood beneath a surface that ought to prevent it. His performance keeps the make-up from becoming the only thing to watch. The boy is allowed to be awkward, and that matters in a film so ready to correct him.

Cinematographer Nicolaj Brüel lets the fantasy colours brighten the images without making the poverty look comfortable. Dimitri Capuani’s production design keeps the period surroundings convincingly poor, and the creatures seem at home there. The practical effects invite close inspection, and the wooden face holds up particularly well to it. We sometimes wanted the film to linger over these odd inhabitants, even when we wanted the story itself to get on.

The difficulty is how often the film seems to begin another little story before the previous one has acquired much weight. The screenplay by Matteo Garrone and Massimo Ceccherini keeps finding fresh company for Pinocchio, but the succession can flatten danger into something we expect at regular intervals. Marco Spoletini’s editing does not always smooth those changes of scene, and at 124 minutes the gaps in momentum are noticeable. A few encounters start to feel like further instructions to a child who has already been told off.

Dario Marianelli’s score is most helpful when it supports the affection around the boy. Its gentleness offers some relief from the cruelty, although it sometimes encourages us to feel something the performances have already made clear. Some of the moral lessons are also too severe beside the patience of Mister Geppetto. Pinocchio already looks exposed enough without the film insisting quite so often that he needs correcting.

The creatures can be unpleasant company, and we welcome a family fairy tale that lets them stay that way. It trusts children to be curious about something they might also find frightening, and the performances give them reasons to keep looking. We would choose it for viewers who enjoy exploring a strange world and can forgive a wandering pace. The PG certificate still leaves plenty of room for a bad dream.

*Fi1m score 76, published 3 October 2026.*

## What the critics say

Most critics welcome Garrone’s Pinocchio as an inventive, warmly affecting retelling that keeps the story’s cruelty in view. Praise centres on the practical effects, wooden-boy prosthetics and strange creature designs, with the blend of poverty and fantasy giving the familiar tale a distinctive setting. Roberto Benigni’s tenderness as Geppetto draws particular approval, while Federico Ielapi earns praise for making Pinocchio complicated and recognisably human beneath his uncanny appearance.

Reservations centre on length and storytelling: even sympathetic reviews find the episodes unevenly joined or short on dramatic weight. The spread is mostly positive, though the dissent goes beyond minor complaints. Variety admires the makeup and prosthetics but finds the fragmented narrative weakens the emotion. The Los Angeles Times finds several creatures more off-putting than captivating. Critics also differ over the harshness, seeing either a useful edge to a children’s tale or moral lessons delivered too sternly.

## Straight answers

**Is Pinocchio worth watching?**

*Pinocchio* is worth watching for its affecting performances and strange creatures, and we scored it 76. We recommend it to viewers who enjoy an unsettling family fairy tale, though the episodic storytelling wanders across 124 minutes and some moral lessons are delivered too heavily.

**How long is Pinocchio, and what is it rated?**

*Pinocchio* runs 2h 04m. It is a drama and family film.

**Where can I watch Pinocchio in Ecuador?**

*Pinocchio* is not on any streaming or rental service in Ecuador at the moment. It is available in 22 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How does Pinocchio compare to The Spirit of the Beehive?**

*Pinocchio* offers more creature-filled fantasy than [*The Spirit of the Beehive*](https://film.one/film/the-spirit-of-the-beehive), which we would favour for viewers seeking quieter unease. Garrone’s film finds warmth in a father’s care but suffers from uneven pacing; Erice’s patient, affecting film centres on a child’s fascination with Frankenstein, though its beautiful images can hold us at a distance.

**Is Pinocchio based on a true story or a book?**

*Pinocchio* adapts Carlo Collodi’s novel rather than a true story. Garrone’s version places particular weight on poverty, adult cruelty and Geppetto’s affection for his wooden child. We would not make familiarity with the book a prerequisite: the performances make the boy’s vulnerability and his father’s concern clear.

**What should I watch after Pinocchio?**

After *Pinocchio*, try [*The Spirit of the Beehive*](https://film.one/film/the-spirit-of-the-beehive) (1973, Fi1m 87): A child’s encounter with a screen monster makes the adult world stranger. Then [*My Neighbour Totoro*](https://film.one/film/my-neighbor-totoro) (1988, Fi1m 89): Strange creatures and parental worry, with considerably more comfort for younger viewers; and [*The Secret of Kells*](https://film.one/film/the-secret-of-kells) (2009, Fi1m 76): Hand-drawn fantasy that gives forests and their inhabitants a particular, persuasive life.

### Reviews we read (14)

- **Evening Standard**, Charlotte O'Sullivan (4/5): O’Sullivan finds Garrone’s adaptation whimsical, gritty and disturbing yet delightful, despite its excessive length. She especially praises Federico Ielapi’s complicated, star-making performance as Pinocchio. [Read](https://www.standard.co.uk/culture/film/pinocchio-review-gritty-live-action-reboot-is-suitable-for-goths-of-all-ages-a4525051.html)
- **Little White Lies**, Lillian Crawford (3/4/4): Crawford praises Garrone’s adaptation as a dreamlike, emotionally resonant retelling that outshines the competing versions. She singles out its candy-coloured world and inventive practical effects as a visual feast. [Read](https://lwlies.com/reviews/pinocchio)
- **Sight and Sound**, John Bleasdale (80/100, inferred): The review praises Garrone’s faithful yet distinctive retelling, grounded in a harsh world where care for one another becomes a means of survival. It especially singles out the practical effects and Roberto Benigni’s tender, emotionally resonant performance. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/pinocchio-review-matteo-garrone-carves-classic-tale-into-something-new)
- **The Hollywood Reporter**, Deborah Young (80/100, inferred): The review praises Garrone’s adaptation as a landmark that brings genuine emotion to Collodi’s dark story, though it finds the film a little long. It singles out the blend of realistic 19th-century Italian poverty and dreamy fantasy, along with Benigni’s emotionally deep performance as Geppetto. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/pinocchio-1264602/)
- **Empire**, Alex Godfrey (78/100, inferred): Godfrey finds the film charming and heartfelt, though its episodic structure leaves it lacking dramatic weight. He especially praises the convincing wooden-Pinocchio prosthetics and the film’s vivid creature designs. [Read](https://www.empireonline.com/movies/reviews/pinocchio-2020/)
- **IndieWire**, Eric Kohn (B): Kohn finds Garrone’s adaptation delightful and strange, though its uneven opening and rough transitions keep it from digging deeply into the material. He praises its imaginative practical effects and surreal, gothic visuals. [Read](https://www.indiewire.com/criticism/movies/pinocchio-review-matteo-garrone-berlinale-1202213083/)
- **Slant Magazine**, Dan Rubins (3/4): Rubins finds Garrone’s adaptation quirky and warmly affecting, while noting that its moral lessons can feel overly harsh. He praises the tender friendship between Pinocchio and the Fairy, alongside the warmth of the father-son reunion. [Read](https://www.slantmagazine.com/film/pinocchio-review-matteo-garrone/)
- **The Guardian**, Simran Hans (75/100, inferred): Hans finds the retelling mesmerisingly creepy and suggests its harsh world makes becoming human seem nearly impossible. She praises Pinocchio’s uncanny appearance and the humanity he radiates. [Read](https://www.theguardian.com/film/2020/aug/15/pinocchio-review-matteo-garrone-creepy-live-action)
- **The i Paper**, Nick Hasted (75/100, inferred): Hasted finds the film an engrossing, lovingly crafted spectacle. He especially praises Garrone’s eye for bizarre and ironic details that spark children’s imaginations. [Read](https://inews.co.uk/culture/film/pinocchio-review-garrone-engrossing-spectacle-579091)
- **RogerEbert.com** (64/100, inferred): The page is blocked, so the critic’s verdict cannot be determined. No specific praise or complaint is available from the accessible text. [Read](https://www.rogerebert.com/reviews/pinocchio-movie-review-2022)
- **Screen Daily**, Lee Marshall (64/100, inferred): The review body is behind a paywall, so its verdict is not available. The accessible page does not reveal what the critic singled out for praise or complaint. [Read](https://www.screendaily.com/reviews/pinocchio-review/5145660.article)
- **Los Angeles Times**, Gary Goldstein (50/100, inferred): The critic finds the adaptation flawed but engaging, and questions the need for another version of the story. The grotesque prosthetic creature designs stand out, though many characters feel more off-putting than captivating. [Read](https://www.latimes.com/entertainment-arts/movies/story/2020-12-24/pinocchio-review-roberto-benigni)
- **Variety**, Jay Weissberg (40/100, inferred): Weissberg finds the film enchanting but subdued, with a fragmented story that weakens its emotional core. He praises the imaginative makeup and prosthetics, especially the Snail, Judge, and Tuna. [Read](https://variety.com/2019/film/reviews/pinocchio-review-roberto-benigni-1203451504/)
- **Eye for Film**, Amber Wilkinson (75/100, inferred): Wilkinson finds the adaptation inventive, appealing, and well suited to children. She praises its off-kilter world and balances its occasional scares against a reassuring sense that Pinocchio is protected. [Read](https://www.eyeforfilm.co.uk/review/pinocchio-2019-film-review-by-amber-wilkinson)

## Details

- **Director:** Matteo Garrone
- **Director:** Matteo Garrone
- **Screenplay:** Matteo Garrone, Massimo Ceccherini
- **Novel:** Carlo Collodi
- **Cinematography:** Nicolaj Brüel
- **Editor:** Marco Spoletini
- **Music:** Dario Marianelli
- **Production design:** Dimitri Capuani
- **Costume design:** Massimo Cantini Parrini
- **Producer:** Matteo Garrone, Jean Labadie, Jeremy Thomas
- **Cast:** Federico Ielapi as Pinocchio; Roberto Benigni as Mister Geppetto; Marine Vacth as Fata Turchina; Gigi Proietti as Mangiafuoco; Massimo Ceccherini as Volpe; Rocco Papaleo as Gatto; Alessio Di Domenicantonio as Lucignolo; Marcello Fonte as Pappagallo
- **Runtime:** 2h 04m
- **First release (Italy):** 19 December 2019
- **Genres:** Drama, Family, Fantasy
- **Budget:** $12 million
- **Box office:** $17 million
- **Trailer:** https://www.youtube.com/watch?v=H4YgkUDVDhE

## Where to watch in Ecuador

Not streaming, renting or buying in Ecuador at the last check.

Also available in: AR, AT, AU, BR, CA, CH, CL, CO, DE, DK, ES, FI, FR, GB, IE, IT, MX, NO, NZ, PA, SE, US. Add `?region=XX` to this URL for another country.

## Awards

- European Film Academy Young Audience Award 2021: European Film Academy Young Audience Award (nominated)
- David di Donatello for Best Director 2020: David di Donatello for Best Director (nominated)

## If you liked this

- *Beauty and the Beast* (1946): A fairy tale with tangible creatures, unsettling rooms and tenderness beneath the make-up.
- *The Spirit of the Beehive* (1973), Fi1m 87: A child’s encounter with a screen monster makes the adult world stranger. — [Fi1m page](https://film.one/film/the-spirit-of-the-beehive.md)
- *The Company of Wolves* (1984): For adults drawn to the frightening possibilities of familiar bedtime stories.
- *My Neighbour Totoro* (1988), Fi1m 89: Strange creatures and parental worry, with considerably more comfort for younger viewers. — [Fi1m page](https://film.one/film/my-neighbor-totoro.md)
- *The Secret of Kells* (2009), Fi1m 76: Hand-drawn fantasy that gives forests and their inhabitants a particular, persuasive life. — [Fi1m page](https://film.one/film/the-secret-of-kells.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/pinocchio-2019