The third film by the D’Innocenzo brothers, which marks their debut in Venice, a shocking journey with the protagonist Elio Germano
You leave shaken by the vision of America Latina not because what we have just seen is particularly shocking (the news tells us what are much worse) but because shocking the journey (physical, mental, phantasmatic) with its protagonist (Elio Germano), a provincial dentist struggling with his own vulnerabilities and mistakes. We leave shaken, but also a little disconcerted, as if disoriented. Right from the location – a villa that seems to have come out of our worst nightmares – the mind tries to ask itself into what world we have been catapulted, into what the hell of reality.
Within a plot of which it would be wrong to reveal anything (and not for easy concession to no-spoilers), the logical contradictions seem to accumulate on purpose, among strange drinking companions, bourgeois ambitions (the grand piano, the impeccable family whose light-colored clothes enhance the charged tones of the interiors) and an external world that is always either too sunny or too dark. But the desire to flesh out everything dominates – plot, psychologies, dialogues, situations – in search of a cinema that does not want to give in to easy middlebrown chimeras. With an operation that is in theory commendable but which in the end risks turning against their own authors, victims of their destructive fury.
What do we see a real fact or the fruit of the protagonist’s sick mind, a nightmare of which he no longer even remembers the origin or the consequences of an ignoble behavior? Personally, I shared this descent into the human underworld until its middle, when the film looked like a modernized version of the Cabinet of Dr. Caligari, with the confusion between reality and imagination inside the head of the protagonist (coming to imagine that the president of the jury, the Korean Bong Joon-ho). But then the air that enlivened everything went thinning, the character began to choke and so it was the film itself that ended up under the rubble of this programmatic stripping. Sin.
Zeby Nie Bylo Sladow (voto 7)
The fact shocked her Poland gi agitata will give Solidarity: on May 12, 1983 a boy is arrested on a pretext by the city militia and beaten to death at the police station. Dying two days later with the authorities who would have wanted to silence everything if it weren’t for the dead man’s friend, who had been arrested together and was an eyewitness to the savage beating. Will he be able to testify at the trial?
Il film di Jan P. Matuszynski Zeby Nie Bylo Sladow (Leave no trace) he reconstructs with meticulousness and meticulousness the network that the communist power (at the time commanded Jaruzelski) stretched around the mother of the deceased and his friend to prevent the truth from coming to the surface. An intimidation operation, misdirections, falsehoods, double tricks and slanders that perfectly restore the atmosphere of oppression and fear under which the whole of Poland then lived. In Hollywood, perhaps they would have favored a more pressing reconstruction of the facts, Matuszynski instead takes all the time necessary to illuminate even the smallest details of the forgery operation (160 minutes), but in the end the message arrives equally loud and clear.
September 9, 2021 (change September 9, 2021 | 20:13)
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