Salvo (2013)
Country: IT/FR
Technical: col/2.35:1 110m
Director: Fabio Grassadonia, Antonio Piazza
Cast: Saleh Bakri, Sara Serraiocco, Mario Pupella
Synopsis:
A Sicilian mobster kidnaps the blind sister of a man he has just executed for treachery, but takes pity on her and shuts her up in a disused factory. Slowly her sight returns.
Review:
As often with first-time or arthouse directors, the kernel of an idea and stylish visuals may be enough to secure fringe prizes at Cannes, but inexorably lead to a prolonged and inconclusive closing shot. Full of taciturn and barely articulate characters, tight medium close-ups and photographic eye-catching shots, the film boasts a fifteen minute second scene during which the girl gradually becomes aware of the presence in her house: slow cinema triumph or a triumph of form over substance?
Country: IT/FR
Technical: col/2.35:1 110m
Director: Fabio Grassadonia, Antonio Piazza
Cast: Saleh Bakri, Sara Serraiocco, Mario Pupella
Synopsis:
A Sicilian mobster kidnaps the blind sister of a man he has just executed for treachery, but takes pity on her and shuts her up in a disused factory. Slowly her sight returns.
Review:
As often with first-time or arthouse directors, the kernel of an idea and stylish visuals may be enough to secure fringe prizes at Cannes, but inexorably lead to a prolonged and inconclusive closing shot. Full of taciturn and barely articulate characters, tight medium close-ups and photographic eye-catching shots, the film boasts a fifteen minute second scene during which the girl gradually becomes aware of the presence in her house: slow cinema triumph or a triumph of form over substance?
Country: IT/FR
Technical: col/2.35:1 110m
Director: Fabio Grassadonia, Antonio Piazza
Cast: Saleh Bakri, Sara Serraiocco, Mario Pupella
Synopsis:
A Sicilian mobster kidnaps the blind sister of a man he has just executed for treachery, but takes pity on her and shuts her up in a disused factory. Slowly her sight returns.
Review:
As often with first-time or arthouse directors, the kernel of an idea and stylish visuals may be enough to secure fringe prizes at Cannes, but inexorably lead to a prolonged and inconclusive closing shot. Full of taciturn and barely articulate characters, tight medium close-ups and photographic eye-catching shots, the film boasts a fifteen minute second scene during which the girl gradually becomes aware of the presence in her house: slow cinema triumph or a triumph of form over substance?