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As Tizza Covi and Rainer Frimmel’s La Pivellina opens, Patty, a middle-aged woman with neon orange hair, searches a trailer park for her dog. What she finds is a 2-year-old girl, Asia, alone on a swing set, abandoned. The Italian word pivello translates as greenhorn, and the film is a simple, ambling story of the people who bring the small child into their home. There is Patty, her husband Walter, and a neighborhood boy named Tairo, who take Asia to the beach, tuck her in at night, buy her a sweater, play with her in the muddy puddles of an unpaved parking lot, and finally throw her a going-away party after her mother writes to say she’s coming back. Shot in the straightforward style of cinema veritè, La Pivellina’s world is stark and impoverished, a Europe at the fringes. Covi’s script is naturalistic to the point that it feels barely there, as does the acting. What the movie offers in authenticity, it lacks in action; there isn’t much plot to speak of. That we don’t learn for nearly 45 minutes that the characters are out-of-work circus performers is indicative of the film’s lazy pace—it’s an approach that has its cons. Despite them, however, La Pivellina is a movie possessed of a refreshingly beautiful hominess.