INSIEME INSIEME

Young Brazilian director Bernardo Zanotta appears to have made a queer farce, with the right amount of pace and joy, a film that owes much to the sheer delight in manufacturing cinematic images: frame, colours, motifs, bodies. A comical incipit evocative of 1980s erotic films sets the tone, with its abysmally poor dialogue, a plot that solely hinges on a car ride involving, in shot/countershot, a little man, like an ideal prey, and a voluptuous femme fatale. Shot on 16 mm film, INSIEME INSIEME is utterly charming because of its cinematic sheen, its larger-than-life characters, the texture and shimmer of its colours, encapsulated in the lipstick of Cecilia, a languorous drag queen who sighs suggestively into the phone. Actors and actresses Lydia Giordano, Gustavo Jahn and Jun Ortega make up a wandering trio in the recesses of cinephile and literary memory. In a narrative that freely brings together quotes – from Plato’s Phaedo to Laclos’ Les Liaisons dangereuses – and tributes to cinema – first and foremost Antonioni -, Bernard Zanotta blends languages (English, French, Italian), periods and motifs pertaining to several registers (romance, black comedy, gore or slasher films, B movies…). Libertinism is what informs the film, a film that moves forward by leaps in the editing, as though driven by mood swings, constantly transgressing the plot’s formality and the norms of genres. When he stages a threesome in the shower, or sadistic pleasures, or a murder, he never succumbs to the raw nakedness of head-on voyeurism. Indeed, what the films promotes is cinema’s very artificial dimension, through abrupt interruptions, elliptic framings, or over-the-top, self- deprecating acting. And if INSIEME INSIEME conjures the spectre of death, it is solely to foil life’s tragedy in an aimless world, where whimsicality is the surest path to pleasure.
源自：fidmarseille.org/en/film/insieme-insieme/

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