Happy as Lazzaro
Director: alice rohrwacher
it’s very hard to get into too many information about alice rohrwacher’s satisfied as lazzaro without spoiling it—which seems a ludicrous thing to say about a movie that starts offevolved off as a rural italian take on dostoevsky’s the idiot, however you’ve got no idea until you’re watching it. Rohrwacher’s the wonders became a greater intimate, non-public movie that had moments of magic realism peeking thru, just slightly.
Satisfied as lazzaro in addition continues the magic in test (even though a scene with whispers in a discipline will start to invoke fellini) till it now not can—and then the magic explodes, blowing up the narrative and sending what’s left in an insanely formidable route. We can only be applaud its daring. If dostoevsky become re-framing the christ narrative, happy as lazzaro re-frames the very idea of a christ narrative until it is some thing else completely. Here, christ is a mythic wolf and our type idiot lazzaro (adriano tardiolo) is a touched lazarus; the difference between them is an issue of substance, time and place. Lazzaro’s goodness, like any earthly goodness, is simultaneously transcendent and doomed, however the wolf maintains on beyond any mortal coil, in opposition to the float of humanity. Lazzaro tries to observe, possibly foolishly, possibly blindly…however thankfully, however.