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Hey there, Mad Heads. I'm about to take you on a ride through the enchanting maze that is the Locarno Film Festival. Now, let's clear something up: I'm not your average festival enthusiast. Far from it. For some, it's a marathon of relentless screenings and caffeine-induced wakefulness. For me? It's a curated experience, a dance between the joys of cinema and the intoxication of those vibrant Locarno nights.
I can hear the purists scoffing. Six screenings a day for ten straight days? That's not my style. Age, wisdom, and a refusal to resort to artificial stimulation dictate my pace. Four screenings a day, three to five daily passes, and a sprinkle of single or double screenings—that's how I roll. This isn't about volume; it's about savoring the richness of storytelling.
You see, I don't pigeonhole myself into specific sections like Concorso Internazionale, Concorso Cineasti del Presente, Histoire, Panorama Suisse, and the like. Instead, I wade through the entire program, hunting for the gems that resonate with me, the films that challenge, provoke, and, above all, entertain.
But what makes my cup of tea your cup of tea? Perhaps nothing. Perhaps everything. This is about discovery, my friends. It's about unearthing the hidden stories, peeling back the layers of creativity, and finding the truth in the celluloid dreams. So join me as I pin down my personal favorites, films that tantalize the mind and tease the senses. You might want to give them a go; you might not. But one thing's for sure: we're in for an exhilarating journey.
Buckle up, Mad Heads. It's time to dive in, to think, and to feel. Let's go.
YANNICK by Quentin Dupieux (2023, France)
Quentin Dupieux is a name synonymous with audacity and innovation in the world of cinema. You might recognize him as Mr. Oizo, the creator of the iconic electronic hit "Flat Beat." Or perhaps you've stumbled across his wildly imaginative films like "Rubber," an ode to a killer tire that I adored, or the insane escapade with Marilyn Manson that defied every conventional boundary.
Dupieux is back, and this time with "YANNICK." In a universe saturated with mediocrity, this film stands out, echoing the director's official note: "99% of films are boring. This one is not." A bold statement, indeed, but does it live up to the hype? Spoiler alert: It absolutely does.
The Plot and Direction:
In the midst of a cringe-worthy performance of "The Cuckold," a mediocre boulevard play, Yannick disrupts the stagnancy. He rises, takes control, and the real show begins.
Dupieux has made a brave choice by shooting in square format, but it's almost irrelevant. The magic of "YANNICK" isn't in the technicalities. It's in the simplicity of a script that's both compelling and accessible, and in a cast so exceptional that the format becomes a mere footnote.
The Success:
This film is a triumph. Everywhere I look, accolades are pouring in, and the praise is justified. The story unravels in one primary location, with characters that could be any of us, and yet they emerge as unique, quirky individuals. Their personalities play off one another, clashing and complementing in an electrifying dance.
The Performance:
The actors are the soul of this film, embodying their emotions with finesse and authenticity. Their performance is a testament to the power of simplicity. There's no elaborate camera work or flashy editing, and yet the laughter flows freely from the audience.
The Verdict:
"YANNICK" is a masterclass in minimalism. Quentin Dupieux shows that you don't need the embellishments of high production. A well-structured script, talented actors, and a touch of the unconventional are enough to captivate an audience.
In a world obsessed with complexity, "YANNICK" is a refreshing reminder that sometimes, less is indeed more. It's a hilarious, engaging, and intelligent piece that resonates with the real essence of storytelling.
Great job, Dupieux! "YANNICK" is not just another movie; it's an experience, a celebration of cinema in its rawest form. It's a must-watch for those brave enough to venture beyond the conventional.
ANIMAL by Sofia Exarchou (2023, Greece, Austria, Romania, Cyprus, Bulgaria)
Under the scorching embrace of the Greek sun lies a world unknown to many. Sofia Exarchou's "ANIMAL" delves into this hidden universe, exposing the tumultuous lives of the animators at an all-inclusive island resort. It's a story about the facades we wear and the humanity that lies beneath, brought to life with raw intensity and visceral emotion.
The Story:
As summer unfurls its heated tendrils, Kalia, the group leader, navigates the labyrinthine world of glossy costumes, paper decorations, and dance shows. The pressure mounts, nights descend into chaos, and in the shadows, Kalia's struggle emerges. But the show must go on, and the facade must remain intact.
The director's note encapsulates it perfectly: "The all-inclusive hotel is the Greek touristic machine. The animators are the workers who provide entertainment. What does it mean to have to put on the same costume, to play the same roles and to deliver with the same energy and smiles every day?" To this, I have nothing to add.
The Execution:
"ANIMAL" is a sensory experience, a film that resonates with mood and sensation. It's a daunting task to translate the pain of a character through the mere lens of a camera, but "ANIMAL" succeeds. You feel Kalia's descent, the slow suffocation of a life spiraling out of control.
The characters are vibrant, quirky, and utterly human. Their performances are nuanced, believable, and poignant, giving life to the hidden world behind the sparkle of tourism.
The Setting and Scenes:
The film's setting is a character in itself, revealing the unglamorous backstage of the workforce that fuels the dreams of transient tourists. Even scenes that might seem inconsequential contribute to the ambiance, weaving a complex tapestry that's never dull.
The Resolution:
I often dread ambiguous endings, those "up to interpretation" conclusions that can feel like a cop-out. But "ANIMAL" avoids this pitfall, delivering a clear and satisfying resolution that brings the story full circle.
The Verdict:
"ANIMAL" is more than a movie; it's an exploration of human complexity, a revelation of the invisible battles fought behind the glitzy facade of entertainment. It's a film that challenges and engages, allowing us to feel the agony and triumph of its characters.
Sofia Exarchou has crafted a masterpiece that transcends conventional storytelling. It's a raw, compelling, and deeply human tale that resonates long after the credits roll.
For those brave enough to venture into the uncharted territories of emotion and existence, "ANIMAL" offers a ride you won't forget.
THE VANISHING SOLDIER by Dani Rosenberg (2023, Israel)
In the heat-soaked streets of Tel Aviv, a story unfolds over 24 breathless hours, a tale teetering on the edge of tragedy and comedy. Dani Rosenberg's "THE VANISHING SOLDIER" follows Shlomi, an eighteen-year-old Israeli soldier, as he flees the Gaza battlefield. But escape brings no relief; the world believes him kidnapped, and the streets he navigates are filled with terror, hope, romance, and nightmares.
The Story:
The director's note describes the film as "the clash between love and law," a blend of "breathless running and paralysis." But to me, that feels somewhat pompous. What resonates more profoundly is the portrayal of a young man's uncertainty and burden in a never-ending war. Imagine having dreams, goals, and hopes, only to have them weighed down by the need to survive the war, to prove your love for your country and those dear to you.
The Execution:
Shlomi's journey is well-crafted, capturing his longing for a future disconnected from the ongoing conflict. Yet, not all elements land with the same impact. A few goofy scenes, particularly involving two tourists, felt out of place and disrupted the overall pace. This subplot could have been cut or altered to better align with the film's tone.
The Stakes and Structure:
The stakes are masterfully raised, pulling the viewer into Shlomi's escalating problems and the potentially dire consequences of his actions. The plot's intricacy and structure make it a captivating story to follow.
The Technical Aspects:
The camera work and editing contribute to the film's immersive quality, setting a rhythm that pulls the audience into Shlomi's world.
The Ending:
While much of the film builds momentum, the ending leaves something to be desired. It falls a bit flat, leaving a craving for a stronger resolution.
The Verdict:
"THE VANISHING SOLDIER" is a poignant portrayal of the heaviness that war places on young shoulders. It's a film about dreams deferred and the labyrinthine paths one must navigate to reach them. While marred by a few missteps, its heart beats with authenticity, and its story is one that lingers.
The movie paints a vivid picture of the conflicting emotions and complex realities that shape the lives of those caught in the shadows of war.
SWEET DREAMS by Ena Sendijarević (2023, Netherlands, Sweden, Indonesia, Réunion)
In the tropical embrace of Indonesia circa 1900, Ena Sendijarević weaves a tale as mesmerizing as it is unsettling in "SWEET DREAMS." With the death of Dutch plantation owner Jan, a battle for inheritance ensues, casting his son and Indonesian concubine Siti into the heart of a familial storm. But this film is no mere family drama; it's a masterful dance of wit, violence, and irony.
The Story:
Described by the director as a "horrific fairytale," "SWEET DREAMS" explores the banality of violence and the futile nature of ideals. Yet this simplistic description hardly does justice to the film's complexity. It's a journey reminiscent of northern dramas like “Festen” by Vinterberg or “Melancholia” by Lars Von Trier, combined with the crude irony of “The Favorite” by Yorgos Lanthimos—all set in the Indonesian jungle.
The Style and Tone:
Consistency is the hallmark of "SWEET DREAMS." Characters are expertly positioned as pawns on a chessboard, ready to collide and clash. The style is confident and assured, marrying exaggeration with the wit in perfect harmony.
The square format of the film, a trend that often raises eyebrows, fits this particular narrative like a glove. It's clear that the director of photography knew exactly what they were doing, crafting visual poetry that resonates with the audience.
The Execution:
Entertaining and engaging, "SWEET DREAMS" delivers on its promise, striking a chord with its balanced storytelling. The characters and their conflicts are carefully drawn, leading to a satisfying culmination that resonates with all the escalating tension throughout the film.
The Criticism:
While the film's strengths are numerous, the ending may divide opinion. Some might find it a tad dragged, longing for a more sudden and brutal conclusion. But this is a matter of subjective taste.
The Verdict:
"SWEET DREAMS" by Ena Sendijarević is not just another movie; it's an experience. It's an engaging blend of drama, irony, and raw emotion, set against a lush Indonesian backdrop. Aside from a minor quibble about the ending, this film shines as a memorable and enjoyable watch.
Sendijarević has crafted a masterpiece that not only entertains but challenges and provokes thought. It's a must-watch for those willing to venture into the unexplored territories of storytelling, where themes collide and create something truly unique.
NON SONO QUELLO CHE SONO - The Tragedy of Othello di W. Shakespeare by Edoardo Leo (2023, Italy)
The transformation of Shakespeare's time-honored tale of jealousy, deceit, and betrayal finds a new home in the criminal underworld of Rome in Edoardo Leo's gripping adaptation. A modern retelling, "NON SONO QUELLO CHE SONO" explores themes that are hauntingly relevant today.
About the Film:
Edoardo Leo's ambitious venture into Shakespeare's Othello brings this complex story into contemporary Italy, intermingling classic drama with the gritty realism of criminal life. The unsettling modernity of the 400-year-old play resonates through every frame.
Direction and Style:
Leo proves himself as an adept student of Italian cinema, channeling the likes of Sollima and infusing his own flair. The decision to reinterpret Othello within a gangster's world pays off with a unique and enthralling cinematic experience. The raw filmmaking, coupled with editing worthy of blockbuster acclaim, sets this film apart from other adaptations.
Themes and Tone:
From racism and sexism to the chilling reality of femicide, "NON SONO QUELLO CHE SONO" is not for the faint-hearted. The grim criminal atmosphere is rendered with a level of authenticity that captures the essence of Italy's darker side. The narrative unfolds in locales reminiscent of iconic crime dramas like "Gomorra" and "Suburra," yet remains true to the words of Shakespeare.
Performances and Characters:
The characters come alive in quirky clashes that mirror the criminal world. While some may find the recurring visuals of villas, beaches, and dark hideouts somewhat tiresome, the film's original take on Othello's tragic tale and the compelling performances by the cast more than compensate.
Criticism:
Although the film's locales might feel repetitive to those familiar with Italian gangster cinema, the innovative adaption of Shakespeare's Othello into this context makes for an absorbing watch. The artful blend of a timeless script with contemporary crime drama breathes new life into an old story.
Conclusion:
"NON SONO QUELLO CHE SONO" is a must-watch for those willing to venture into the intersection of classic drama and modern crime. It stands as a testament to Italy's continued renaissance in cinema and reinforces the enduring power of Shakespeare's storytelling.
This year's Piazza Grande selection might seem underwhelming at first glance, but delve deeper, and films like this one reveal a rich offering worth exploring. "NON SONO QUELLO CHE SONO" is not only an enjoyable watch but a cinematic experience that adds depth to the ongoing conversation about human nature, power, and corruption.
That's it FOR NOW, folks. Stay tuned for more insights of the 76th Locarno Film Festival. Coming soon.
Davide Catena
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