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In his 1967 seminal work The Society of the Spectacle, Guy Debord wrote: “In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into representation” (thesis 1). The opening of Debord’s book aptly describes what occurs in Matteo Garrone’s 2012 film Reality whose protagonist, an exuberant fishmonger by the name of Luciano Ciotola, becomes obsessed with his participation in the reality TV show Big Brother to the point that his entire life turns into a spectacle. The spectator witnesses and experiences an overlapping and, ultimately, a (con)fusion between Luciano’s everyday reality and his life as a (potential) member of the reality TV show. Luciano, who lives with his family in the outskirts of Naples, in “an incredible Neapolitan building, baroque, crumbling and magnificent” (C.G. 57), plods on with their fish shop and the illegal selling of kitchen electrical appliances. At first encouraged by his capricious daughter and lively family,1 and then by his own wish to change his life and become financially stable, Luciano auditions to be a member of the reality show Big Brother. While awaiting a response from the

Matteo Garrone’s Reality: The Big Brother Spectacle and Its Rupture