"Latin The usa" by Fabio et Damiano D'Innocenzo: basic brain

Beginning from a disturbing screenplay premise, the D’Innocenzo brothers frequently fail to instill confusion and novelty, contenting on their own with unrolling the basic figures of the film by discovering (and playing with) the insanity of its protagonist.

Who is she ? How did you get below, in this cellar, in this situation, tied up, gagged and swollen, surrounded by garbage? Massimo does not have an understanding of. Who is this girl imprisoned in her cellar? Who put it there? He attempts to question her, to assistance her also, but she bites and screams. Possibly fearful of being held accountable for her kidnapping and kidnapping, Massimo leaves her there and claims nothing at all about her, neither to the police nor to her relatives nor to her most effective close friend. He needs to know to start with who et Why. From this disturbing postulate of scenery, Fabio and Damiano D’Innocenzo they weave a form of schizophrenic fable about the interior turmoil of a guy who has all the things but who no longer understands who he is, quickly questioning his personal identity and the tangibility of his daily life.

Naturally, every little thing is high-quality: probable amnesia, hallucinations, disturbances of reality, fantasies and suspicions galore: could it be Massimo’s best close friend who is plotting in opposition to him, therefore seeking to hurt him? O his father, who despises him with uncommon violence? Or probably his spouse and two daughters way too? But The D’Innocenzo brothers they hardly ever seem for the slightest novelty in the evolution of their tale, contenting on their own with revealing the traditional, nearly imposed figures of the film by checking out (and actively playing with) the insanity of its protagonist. In truth, looking at Maximus combat like hell against an ever more significant alienation will only deliver an acute feeling of deja vu. And some boredom.

Especially since The D’Innocenzo brothers they multiply in vain the effects of the staging as if to compensate for this absence of narrative originality which they have not been equipped to avoid. Not to point out this clumsy conclusion coming to aid, going so significantly as to make clear what we had at last recognized, and annihilating after and for all the few mysteries and grey parts that, maybe, could continue to arouse fascination and, extra merely, preserve the movie. . Possibly superior (no, without the need of no person doubt) is to be observed or reviewed Misplaced freeway, Enemy or Black Swanparanoid labyrinth-movies a great deal more disturbing and ambitious than this factor that sounds vacant, but of which we will still retain the inhabited interpretation ofElio Germano.