Atlantide

A psychedelic journey into the underworld of water racing, boat tuning and juvenile delinquency in the lagoon and canals of Venice.

If the transposition of the street racing universe into this improbable setting seems unusual (albeit perfectly plausible), the film focuses in such a way on the plastic aspects of the experience, that we are left in doubt to what extent the work is pure fiction or translates some sociologically relevant reality.

The cinematography of the director himself (who is also the screenwriter, making this film an authentic personal project) is extremely beautiful, but the truth is that the film has little else. The argument is insipid, superficial, when it exists, and everything seems to serve as a mere pretext for showing the beautiful lagoon and the Venetian canals under a neon rainbow and techno-urban sound.

A beautiful but empty film.

This visually extremely beautiful movie seems to be deeply misunderstood. In essence, it is a deeply symbolic film inspired by the Biblical Book of Daniel, to which we are referred by the name of main character, his steady course in life and his apocalyptic end by fire. All that takes place in the city of sin, bygone Atlantis (clear reference by the title), today's Venice, yesterday's Carthage or maybe more generally, Phoenicia (Venicia). During the long, haunting end sequence of the inverted ride through canals of Venice we constantly meet elements of this floating city framed as the sign of Tanit, the principal goddess of Carthage, that great empire of merchants. The final of this dark, "underground" sequence bursts with light and music - perhaps promising a new beginning for the haughty sons of Atlantis.