Contract killers do not exist in the real world; They are simply an invention of cinema. At least that’s what Richard Linklater thinks. “I don’t think it’s possible to contact a stranger and pay him to kill another It would be very easy for the police to stop these guys, as if we were paying someone to mow our lawn,” he says in ‘Before Dawn’ (1996) and ‘Boyhood’ (2014). “The interesting question to ask is this: Why do hitman movies get so much attention?. To find an answer, it is enough to look at ‘Hit Man’, which the Texan director presents at Mostra today and which does not need to be among the fictions competing for the Golden Lion; It’s a mystery why Venice was so successful. the festival did not include him in the competition – for whatever reason one of those who talk more and better about him.
Based on true or nearly true events, this book takes as its starting point an article published in 2001 by journalist Skip Hollandsworth about Gary Johnson, a university philosophy professor who collaborates with police in Houston (Texas) in his spare time. posing like a thug.
The method was simple: Johnson would meet with a potential client and persuade him to verbally confirm that he wanted to kill someone.As soon as the meeting was over, his client was detained by agents who had just listened and recorded the conversation. Based on this premise, ‘Hit Man’ stands as a perfectly balanced combination of ‘noir’, sitcom, romance, detective intrigue, and playful but contemplative reflection on whether adult people can change their psychology—and therefore their identity—and their own psychology. our capacity for self-actualization through violation, A topic that Linklater has previously touched upon on titles such as ‘Los Newton Boys’ (1998) and ‘Bernie’ (2011); It’s a mundane but highly sophisticated work, highly immoral and utterly hilarious.
Manichaeism about refugees
‘Hit Man’ is an amazing film that can brighten up one’s day, which puts it in a stark contrast to veteran Polish director Agnieszka Holland’s new film. Presented for competition in the competition today, The ‘Green Border’ goes to the border Poland and Belarus To describe in detail the tragedy experienced by those trying to enter the European Union from the Near and Middle East. Holland apparently aims to offer a multi-faceted look at this drama, and it shows by embracing it successfully.Perspectives of refugees, law enforcement, activists and the civilian population.
In practice, however, the ‘Green Frontier’ does nothing but explain it to us over and over again and with the least possible subtlety. racism and sadism that both European governments and law enforcement are at their service, and how valuable the help of good people is. Meanwhile, the extensive catalog of atrocities he showed us shows that his priority is not to shed light on the issue, but to illuminate it. leave the audience exhausted. If this is the case, the mission has been successfully completed.
Another of the fictions targeting the Golden Lion presented today, ‘Enea’ is directed by Pietro Castellitto. and the surname and cast presence of his father Sergio Castellitto, the actor and director who made him famous worldwide, almost helps explain how he financed such a whim. chronicle the rise and fall of the son of a drug dealer fatherIt is a blatant waste of the money of those who pay for it, the labor of those who work on it, and the time of those who take the trouble to see it; a grueling series scenes full of grumpy words and shabby attempts at visual poetry that express nothing more than the director’s desperation to hit the target. It’s still early to predict which will be the best film of this festival, but it is obviously unlikely that ‘Enea’ will not be the worst, no matter what happens until the closing.