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Posted by sophoristicallyspeaking in : Uncategorized , trackbackCinePhillyist Reviews… Ciao
ciao, a fount-intentioned movie about grief, loneliness, and tentative human connections, is not inherently bad, but it’s an ill-sure compromise between two types of filmmaking that turn not allowed to be mutually conflicting. much of the movie employs lengthy static shots that apply intentionally blank characters in a military talents of a cautious theme, a style that director yen tan apparently lifted from many international art-house favorites. a basic like tsai ming-liang can create a single static shot so unexpectedly vertiginous that you can’t stop studying it. yen tan, on the other hand, doesn’t arrange the precise behold needed to pull on holiday a similar suffice–his color scheme is particularly shabby–and his attempts are constantly undercut by the movie’s niggardly, muddy digital video and poor stage values.
At other times, the director seems more interested in observing quietly as the two main characters, meeting for the first time after a mutual friend’s death, form a tentative connection. In these scenes, the style lapses into a conventional shot-reverse shot rhythm as we in the audience watch what is, ostensibly, a slice of life. And certainly, Tan and co-writer/actor Alessandro Calza have enough experience with grief that the big picture is familiar: the way that wrenching moments come piece by piece, in unexpected places; or the way a sudden death (from a car accident, shown off-screen) can make a person convinced that a skin tag might be cancerous.
however, the small things are completely off. lead suitable jeff (adam neal smith) is supposedly a successful professional with responsibilities, the sober yin to his late best friend’s barren-newborn yang. and yet from the film one could only tell that he had any social or professional obligations at all. he’s defined verging on barrel by his grief, as if the process took place in a matrix-style featureless white lodge. andrea (calza) too is underdeveloped, shockingly so considering that the movie is one conversation after another; we learn more about his house town of genova than about the man himself. and thanks to tan’s dogged punctiliousness, both smith and calza are too mannered and self-conscious to hold a ordinary conversation. what should be small moments appearance of instead to be preserved in amber. he’s distressing too hard, and it shows.
Image credit: Regent Releasing
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