Three situations of a vaguely theatrical origin, stripped of any kind of exterior clothing, reveal the trail of a different kind of cinema. Then doesn’t pretend to be realistic –maybe it could never be-, but succeeds in trapping absent moments of the best comedy of manners. There’s the knowing joy of the initial couple, their lines of dialogue which state the obvious and the silly jokes, transmitting an intimacy that we have experienced in real life, but we rarely see on-screen. Because in Then, realism doesn’t surface from the conscious search, it slips through the cracks of its apparently autarchic, closed world. A world which responds to the laws of comedy and which makes us laugh, even if we don’t have the exterior coordinates of the characters, the rest of the iceberg. (Bafici)