A vision of the psychological extremes that unrequited erotic obsessions can create, L'IMBALSAMATORE has a deceptively placid surface.
Peppino, a dwarfish, homely-looking taxidermist with horrible teeth, takes an interest in Valerio, a gorgeous young man who is biding his time unproductively as a food runner in a cheap restaurant. Peppino takes Valerio on as assistant, even though he can't really afford it, and Valerio is overwhelmed with gratitude for the mentorship. But Peppino's attitude soon begins to take on uncomfortably sexual and possessive overtones, that everyone except Valerio sees - at first.
L'IMBALSAMATORE has an opaque atmosphere of unease. Like THE VANISHING, much of it is shot in cheerful, sunny daylight, and there is plenty of light-hearted humor; like MONSIEUR HIRE, you can't be sure if what seems creepy is your own prejudice or a genuine malice.
Matteo Garrone builds the erotic tension to an almost unbearable intensity. This is an audacious picture that plays with perception and memory; we can never be sure if what we are seeing is really happening, or occurring only in Peppino's twisted fantasies, or in Valerio's bewildered daydreams. Reality and fantasy blur. L'IMBALSAMATORE is feverish and spellbinding.
Peppino, a dwarfish, homely-looking taxidermist with horrible teeth, takes an interest in Valerio, a gorgeous young man who is biding his time unproductively as a food runner in a cheap restaurant. Peppino takes Valerio on as assistant, even though he can't really afford it, and Valerio is overwhelmed with gratitude for the mentorship. But Peppino's attitude soon begins to take on uncomfortably sexual and possessive overtones, that everyone except Valerio sees - at first.
L'IMBALSAMATORE has an opaque atmosphere of unease. Like THE VANISHING, much of it is shot in cheerful, sunny daylight, and there is plenty of light-hearted humor; like MONSIEUR HIRE, you can't be sure if what seems creepy is your own prejudice or a genuine malice.
Matteo Garrone builds the erotic tension to an almost unbearable intensity. This is an audacious picture that plays with perception and memory; we can never be sure if what we are seeing is really happening, or occurring only in Peppino's twisted fantasies, or in Valerio's bewildered daydreams. Reality and fantasy blur. L'IMBALSAMATORE is feverish and spellbinding.