Francesca Comencini's view of my home city, Milan, is direly pessimistic but, alas, probably very close to reality. In a way rendered famous by the classic Short Cuts, the film lets us follow the lives of a dozen characters. Their stories are unrelated at the beginning of the film, then slowly get intertwined, either because we discover some links between the characters, or by pure coincidence (like staying in the same hospital room ― which is less interesting).
All in all, the scenario (or lack thereof) is rather gloomy and despairing. Most scenes are shot during the night or are interior scenes. When you manage to see the outside from the latter scenes, it is mostly railway tracks or the less glamorous parts of the city.
Where il Caimano (shot in Rome) was a direct attack against Berlusconism and the way Berlusconi has transformed Italy and the Italians, A casa nostra lets us see the results of this process, and even more sharply so in Milan, the 'capital city' of Berlusconism. After having seen this film, I would say Milan is the real Sin City ― forget about Frank Miller's comic books or film: sex, corruption, prostitution, murder, money laundering, drug trafficking, white slave trade, name it ― it is there, behind the fashion shops, designer clothes, and beautiful cathedral.