April 5, 2024
FILM: LA CHIMERA
DIRECTED BY: ALICE ROHRWACHER
STARRING: JOSH O’CONNOR, CAROL DUARTE, ISABELLA ROSSELLINI
RATING: 3 ½ out of 4 stars
By Dan Pal
Italian writer/director Alice Rohrwacher makes some pretty charming films, including 2022’s Oscar-nominated short Le pupille and 2018’s Happy as Lazzaro. Her latest, La Chimera, follows a group of guys who find Etruscan treasures buried in fairly random locations in Italy. These are then sold on the black market where they can make a respectable profit. When the film begins, Arthur, played by Josh O’Connor, is traveling on a train after having spent time in jail due to a deal that went wrong. He’s angry and not interested in the foolishness that is around him. He’s also recently lost someone special and goes to meet her mother Flora, played by Isabella Rossellini. Flora teaches music to a student who is also her servant. But Flora’s world is beginning to fade around her and perhaps this is why she and Arthur have maintained a strong friendship. She’s in a wheelchair, her house is crumbling, and she feels old. She’s a reflection of something that is nearing its end. Arthur’s own fascination with similar fading treasures may suggest his own connection and eventual passage to the afterlife.
He is known as “the expert” because he has “the gift of finding lost things” using a Y shaped stick. Is he truly connecting with what remains of the past? Can he sense what others can’t? That’s part of the mystery of the character, but not necessarily the focus of the film. He’s a character that begins to develop a deeper appreciation for the past and its relics only as the narrative progresses.
One of the primary concerns of the film surrounds the ethics of robbing the grave sites of these relics. Should they be left alone? Arthur and his fellow “robbers” see how the art world profits over their finds. Arthur, in particular, becomes increasingly wary of their methods. Still, he can’t stop his own fascination with digging up the past.
It does take a while for the film to settle into one groove. Rohrwacher includes some interesting techniques and plot elements early on that don’t necessarily correspond to where she goes later with tone. For instance, there’s a scene of a parade in which several of Arthur’s friends dress-up in drag. It’s not clear what she intended here or if this relates to some wider ideas she is trying to express. There’s also a periodic use of fast motion as if the characters have suddenly entered a slapstick comedy. Federico Fellini used the technique to comic effect in films such as 8 ½ but their presence here don’t do much but fast forward certain chases and escapes within the plot. Direct address makes an appearance early on but it is also dropped by the midway point in the narrative. Music also varies such as the surprise arrival of some techno music to bridge a couple of scenes. Again, not really consistent with the film as a whole.
However, I’ll forgive those elements as quirky diversions in an otherwise fairly sobering story. The characters are intriguing and flawed and the actors who portray them are very good. Josh O’Connor has a very interesting face which at times make him appear as an attractive thug, similar to the roles played by late French actor Jean-Paul Belmondo. At other times, he appears innocent, almost dweeby. There is constantly something being expressed in his face that is endlessly fascinating to watch.
I think the question of disturbing the past and its relics is a very interesting one. Should we use ancient art or abandoned buildings for our purposes today? Should we benefit off of them or let them remain untouched and unblemished? These are the main questions Rohrwacher effectively explores that are worth some contemplation in this pretty fascinating film.
La Chimera is now playing in limited theatrical release. It won two awards at the Chicago International Film Fest this past year: The Silver Hugo for Best Cinematography and Best Ensemble Cast Performance.
FILM: LA CHIMERA
DIRECTED BY: ALICE ROHRWACHER
STARRING: JOSH O’CONNOR, CAROL DUARTE, ISABELLA ROSSELLINI
RATING: 3 ½ out of 4 stars
By Dan Pal
Italian writer/director Alice Rohrwacher makes some pretty charming films, including 2022’s Oscar-nominated short Le pupille and 2018’s Happy as Lazzaro. Her latest, La Chimera, follows a group of guys who find Etruscan treasures buried in fairly random locations in Italy. These are then sold on the black market where they can make a respectable profit. When the film begins, Arthur, played by Josh O’Connor, is traveling on a train after having spent time in jail due to a deal that went wrong. He’s angry and not interested in the foolishness that is around him. He’s also recently lost someone special and goes to meet her mother Flora, played by Isabella Rossellini. Flora teaches music to a student who is also her servant. But Flora’s world is beginning to fade around her and perhaps this is why she and Arthur have maintained a strong friendship. She’s in a wheelchair, her house is crumbling, and she feels old. She’s a reflection of something that is nearing its end. Arthur’s own fascination with similar fading treasures may suggest his own connection and eventual passage to the afterlife.
He is known as “the expert” because he has “the gift of finding lost things” using a Y shaped stick. Is he truly connecting with what remains of the past? Can he sense what others can’t? That’s part of the mystery of the character, but not necessarily the focus of the film. He’s a character that begins to develop a deeper appreciation for the past and its relics only as the narrative progresses.
One of the primary concerns of the film surrounds the ethics of robbing the grave sites of these relics. Should they be left alone? Arthur and his fellow “robbers” see how the art world profits over their finds. Arthur, in particular, becomes increasingly wary of their methods. Still, he can’t stop his own fascination with digging up the past.
It does take a while for the film to settle into one groove. Rohrwacher includes some interesting techniques and plot elements early on that don’t necessarily correspond to where she goes later with tone. For instance, there’s a scene of a parade in which several of Arthur’s friends dress-up in drag. It’s not clear what she intended here or if this relates to some wider ideas she is trying to express. There’s also a periodic use of fast motion as if the characters have suddenly entered a slapstick comedy. Federico Fellini used the technique to comic effect in films such as 8 ½ but their presence here don’t do much but fast forward certain chases and escapes within the plot. Direct address makes an appearance early on but it is also dropped by the midway point in the narrative. Music also varies such as the surprise arrival of some techno music to bridge a couple of scenes. Again, not really consistent with the film as a whole.
However, I’ll forgive those elements as quirky diversions in an otherwise fairly sobering story. The characters are intriguing and flawed and the actors who portray them are very good. Josh O’Connor has a very interesting face which at times make him appear as an attractive thug, similar to the roles played by late French actor Jean-Paul Belmondo. At other times, he appears innocent, almost dweeby. There is constantly something being expressed in his face that is endlessly fascinating to watch.
I think the question of disturbing the past and its relics is a very interesting one. Should we use ancient art or abandoned buildings for our purposes today? Should we benefit off of them or let them remain untouched and unblemished? These are the main questions Rohrwacher effectively explores that are worth some contemplation in this pretty fascinating film.
La Chimera is now playing in limited theatrical release. It won two awards at the Chicago International Film Fest this past year: The Silver Hugo for Best Cinematography and Best Ensemble Cast Performance.