Tartalmak(1)
Back home, Glauco, an industrial designer, finds his wife in bed with a serious headache. She has left him dinner but it is cold and Glauco decides to prepare himself a gourmet meal. While looking for some kitchenware, he discovers a revolver wrapped in a newspaper dating from 1934 announcing the death of famed mobster John Dillinger. (forgalmazó hivatalos szövege)
(több)Videók (1)
Recenziók (1)
In one aspect, this is a non-traditional Ferreri film: the maestro of the cinematic metaphor, in the sense that the stories and characters of his films usually function "only" as an embodiment of a metaphor, through which Ferreri builds an analogy between the film world and the real world. He went a step further here. In the opening scene, he let the chosen metaphor for this film resonate directly. The viewer does not have to "only" extract Ferreri's chosen metaphor (the principle by which the plot unfolds and carries a message) from the observed actions of the characters but can contemplate to what extent it corresponds to the outlined "program" in the beginning. Here, in my opinion, two possibilities present themselves – the first is that we note that the main character truly experiences a radical rejection of the alienated world, an escape from it through a rebellious gesture. The second option, which is more interesting, is that we note that he has just completely merged that alienated image with himself. If the "outer world transitions into the inner being of a person," then violence (industrial and military machinery, where he is employed) and the romantic escape from the mundane life on a luxurious sailboat (a promotional phantasm), etc. will indeed seem like internalized fulfillments of the "qualities" of the (post)industrial society, to which a specific individual has decided to commit.
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Galéria (21)
Photo © Roissy Films
