Lorenzo Bianchini
Although it has yet to find distribution, has already appeared in several film premieres "Eyes", the new film by Lorenzo Bianchini. This director
Friulian (Lidris cuadrado of three "," Custodes bestiae "," Dirty Movies ") has transformed into a constant need for a poetics of independent cinema" no budget "from which it comes: the imaginary construction of location through assembly. In "Eyes" but Bianchini is the perfect environment already ready at his disposal: the villa of Crauglio Stefaneo-Ronchi (San Vito al Torre). His ability to give life to the usual places, charging them with the threat, is enhanced by this old house and its furnishings, and more in this environment has a note, as it feels at times in the film a documentary style (see the digression on 'fresco of the Napoleonic battle of the Rhine). The restorer
Gabriele Morelli (John Visentin) is instructed by the superintendent (Gianni Nistri) to restore the paintings of this eighteenth century villa uninhabited. After the mysterious death of the custodian semipazzo (Edo Bass), he moved there, it reaches her friend Anna (Sofia Marques), to escape the stalking ex-husband (Or lover?). Gabriel is also in the villa of the murals more recent work, we learn, by Lorenzo Gori, Gori, the last of the family who lived in the villa between 1875 and 1900 (and we all met a sad end.) The eyes of these figures - the souvenir portraits of dead relatives - have all been chiseled away.
The theme of the eyes and the look is the theme of the movie - raised in the dialogue of the characters, the ghostly voices in graffiti scattered throughout the villa. "They watch." "They look at me." "This morning I stared." "Do not look, do not look." Written next to the eyes deleted "Death now see." Shout to Gabriele Anna towards the end: "Why you looking at me like that?". Anna talks about his dream: "And they look, look, with blood in their eyes" (appears as a huge photo of the family background Gori). And when you discover the preparatory drawings of the mural paintings of Gori, we note the disturbing evidence of the enormous eyes, similarly, that haunted face with wide open eyes that appears several times in the film is the portrait of Gori (incidentally, the beautiful drawings attributed Lorenzo Gori in the film are Anna Gaudio).
This house is infested with visual fragments between the flashbacks and ghostly (but what is a ghost but a flashback?) Family of Gori, images of death and suicide. But outside the villa Gabriel discovers that the sculptures represent an owl - the prehistoric goddess of death. They are the ghosts of the dead to haunt the house? Or is the vibration of their emotions that has permeated the walls, and affects the unconscious of Gabriel and Anna? Or is the ancient goddess of death, which still owns the place, where everything rots and breaks down prematurely? Last Gori took refuge in a secret room because "there was something outside." But whatever the answer, look at opening a route to death and madness is like looking at the Gorgon.
caught, the two main characters wander in a kind of suspended time for unreal paths of the villa (as he wrote beautifully Gaberscek Carlo, "becomes a Friulian Marienbad"). That form of cinema-maze Bianchini, the universe-trap, located in real location of the villa of Crauglio its most complete embodiment. The photograph of Ivan and mounting Scialino Lorenzo Bianchini and Rui Branquinho conspire to create a quiet atmosphere and unreal. Kubrick's use of camera movements "empty", the "Shining" (Gabriel and sat on the stairs just the semi-catatonic recalls Jack Nicholson's "The Shining"), a rebel, roving camera. The whole film is shot through by unrelated flashback from undeclared cuts and cross fades, and poetic surreal.
At one point, while Anna and Gabriel wander like ghosts in the villa, there is a beautiful assembly of movements that carries something inherently "wrong" for the speed with which the viewer's eye registers two different paths reinforces the concept - in this film as in the whole work of Bianchini - an area of \u200b\u200b"Einstein", incongruous, perhaps to Escher.
"Eyes" is the most atmospheric film Bianchini, crossed by a suffocating sense of menace and despair, unnecessary movement. It 'clear the call - to quote, but I do not speak of inspiration - to the horror of Pupi Avati, first, and Dario Argento: the two Italian authors of which must Bianchini more. Also because "eyes" and with "Custodes Bestiae," the film that best enhances the tendency Bianchini "antique" (in the sense of the dreadful "Ghost Stories of an Antiquary" by MR James) that comes through Silver and Avati i dusty documents and photographs, old paintings detectors, secret rooms, moldy houses pervaded by an unspeakable past.
However, with all its undeniable merits, "Eyes" is ultimately a film is not fully successful. Instinctively led to the horror and dark allusion to Val Lewton, Bianchini has restraint Classic hates the exhibition of monstrosities on the screen. His film has the undoubted courage (since for the first time is not self) to maintain a programmatic ambiguity, a perspective that one would like to define hyper-lewtoniana. The reference that springs to mind is the ghost story late Victorian and post (Oliver Onions, Henry James, Algernon Blackwood's "The Listener") where the "fact" spectral fits and blends in psychology.
The problem is not that the film gives the audience just in terms of objective understanding of "fabula" (this can be done at least without too many regrets), but the continued construction of the tension never explodes in a cataclysmic flash of clarity. Despite the sad fate of the two protagonists, it lacks the gripping moment in which you define (even for a moment, perhaps deceptively) a fixed point, so the film leaves an impression of unresolved.
's a choice, of course. Bianchini, we know, has worked hard to remove, he shot a lot, even with more "physicality" of the story, and in the assembly has changed a lot and cut - perhaps too much. It 'difficult, however, hope for a future extended version . In any event, "Eyes", with its cruel and foul atmosphere, rinverdirà his position as director of a small object but convinced worship.
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