Woody Allen’s creative slump since the turn of this century is so blatant, profound, and enduring that—before that, The New Yorker seemed only capable of making great movies—that period was met with an overreaction from its followers. Every film that manages to rise even minimally in its filmography is enthusiastic. above pure mediocrity. The same thing happened in the films ‘Match Point’ (2005) and ‘Midnight in Paris’ (2011) and it will probably be the case with the editing that he presented out of competition today in Venice.
Allen’s first feature film in three years – The sexual abuse accusations that tormented him for years failed to end his career, but the financial problems it caused forced him to slow the pace of work -, ‘Fortune Chance’ describes what almost all of its movies are talking about: the bullshit of lifethe futile search for order in chaos, and the pain caused by love, among other issues.
Unlike the others yes, this one does it through French speaking characters. Explaining the change in language today, the director said: “The films that impressed us the most in my youth were European films, and we all wanted to make films like the French, Italians or Swedes did.” “In the beginning this story was going to be Two Americans living in Parisbut since it’s my 50th movie as a director, I thought it would be nice to shoot it in the language of the writers I admire. Truffaut, Godard, and Resnais and so finally a truly European filmmaker”.
A young woman who is married to a businessman who is obviously a corrupt businessman at the beginning of the story meets a writer she went to high school with and it doesn’t take long for her to meet him. an adulterous relationship. Afterwards, a murder takes place and both what has happened up to that point and especially what has happened in the concussion of the story reminds me of the ironies, as Allen explains in Match Point, to which he is most similar. What happens by chance has a huge impact on our lives.
Meanwhile, wandering confused between comedy and drama—he doesn’t have the grace to play the one and the depth to portray the other, ‘Strike of Luck’ showcases narrative clumsiness and formal rudeness I think Allen made a personal mark, but provides evidence of an undoubted improvement, especially when compared to his predecessor, the dreaded ‘Rifkin’s Festival’ (2020). For many, we say that will suffice.