are to each other. It's unusual to see depicted a brotherly relationship that's without conflict or jealousy or ego, but the two actors sell the warmth of their closeness absolutely. And the animations,which are basically a synthesis of Jerry Lee's artistic style with Frank's storytelling give form to a shared world, that with its big-breasted women in sometimes pornographic situations, its pirates and its fighter pilots, is utterly beguiling in its boyishness. And the film's heart has warmth enough for even smaller characters: gambling addict Tommy, overweight and unlucky Al, even the manager of the local gun shop - there is affection, and time, for them all. There are, after all, no real antagonists here, just willful bloody circumstance and the self-fulfilling prophecy of light wallets, bad luck and inertia. We're anxious not to overpraise it, because to go in with overhyped expectations for this small, contained picture would be to deny yourself the gentle wise surprise of a film that without doubt has proven one of the most satisfying  of our Rome festival. And yes, we're reluctant to admit that, as embracing a U.S. indie that feels like a Sundance film in Rome may seem like a cowardly retreat into better-known territory. But the simple fact is that it won us over with its refreshing quiet confidence in itself and the kind of film it wants to be -- it's an assured debut by directors smart enough to make sure their reach never exceeds their grasp. And in Frank