“…the curious feeling swam through him that everything was beautiful there, that it would always stay beautiful there…” At one point in Francesco Rizzi’s coolly assured, impressive debut “Cronofobia,” which picked up a first feature competition jury prize in the Tallinn Black Nights Film Festival, a raspy but sonorous voice reads out Charles Bukowski’s poem “Nirvana” in full.
The images are of an overlit, garishly clean 24-hour restaurant off an anonymous motorway in the south of Switzerland, a world away in geography and period from Bukowski’s scuzzy milieu of drifters and fry cooks and Greyhound buses. And yet the mood is magnificently similar: this is a story, told in enigmatic miniature, of a moment of against-the-odds connection that brings fleeting comfort to characters who are, like Bukowski’s lonely bus rider, “completely cut loose from purpose.”
The poem is the boldest of several bold choices that Rizzi makes with his elegant two-hander.
The images are of an overlit, garishly clean 24-hour restaurant off an anonymous motorway in the south of Switzerland, a world away in geography and period from Bukowski’s scuzzy milieu of drifters and fry cooks and Greyhound buses. And yet the mood is magnificently similar: this is a story, told in enigmatic miniature, of a moment of against-the-odds connection that brings fleeting comfort to characters who are, like Bukowski’s lonely bus rider, “completely cut loose from purpose.”
The poem is the boldest of several bold choices that Rizzi makes with his elegant two-hander.
- 12/31/2018
- by Jessica Kiang
- Variety Film + TV
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