Pietro looks for his brother after his father's death, to contend for the only things that he left them as an inheritance: a gun and a chair.Pietro looks for his brother after his father's death, to contend for the only things that he left them as an inheritance: a gun and a chair.Pietro looks for his brother after his father's death, to contend for the only things that he left them as an inheritance: a gun and a chair.
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This movie will lead you into a journey. First, it will show you some of the most beautiful - because savage and less know - places of Sardinia. Secondly, it is a journey through the deepest secrets that every human relationship implies. During most of the film, we will see the journey of a man, who has to go back to his roots to find his brother: he doesn't really want, but their dad has died and left them two objects. The movie unfolds through the point of view of one of the brothers, who is our Virgil for this trip. And the director is very good because for almost the entire movie we don't know if the other brother is real: he looks like a ghost or a cinematic function, an element that is necessary to set the story in motion. The end is unexpected and I don't reveal it because you really have to watch La sedia.
A narrative raw as the Sardinian landscapes it unfolds upon. Its tone, rough and rude, navigates the realms of honesty and directness. This film, with its surreal and occasionally puzzling moments, unveils a visual feast, a storyline with sonic finesse, and a handful of unexpected delights. The spectator, often in a state of wonderment and speculation, finds themselves on a cinematic rollercoaster.
Initially challenging to digest, the plot progressively accelerates, culminating in the crescendo of the central scene starring Pietro (undoubtedly, the linchpin of the entire narrative, vividly brought to life by Michele Sarti). The finale, intense yet somewhat tranquil, unravels unforeseen truths about the characters, particularly Pietro and his brother.
The actors shine, delivering excellent performances, and the characterization is masterfully executed.
Gianluca Vassallo's direction is assertive, with subtle nods, some might say, to Fellini and a playful homage to the old Italian masters.
The musical score from Tanake is a vibrant companion to the narrative and mirrors the bewilderment inherent in the tale. With each note, it weaves through the intricate layers of the story, amplifying the emotions and uncertainties that characterize the film. The melodies, at times haunting and at others exhilarating, serve as a sonic guide, enhancing the audience's immersion in the enigmatic world painted on the screen.
A special tip of the hat to Michela Sale Musio, who embodies a character both powerful and delicate, delivering a solid performance that lingers in the mind.
Initially challenging to digest, the plot progressively accelerates, culminating in the crescendo of the central scene starring Pietro (undoubtedly, the linchpin of the entire narrative, vividly brought to life by Michele Sarti). The finale, intense yet somewhat tranquil, unravels unforeseen truths about the characters, particularly Pietro and his brother.
The actors shine, delivering excellent performances, and the characterization is masterfully executed.
Gianluca Vassallo's direction is assertive, with subtle nods, some might say, to Fellini and a playful homage to the old Italian masters.
The musical score from Tanake is a vibrant companion to the narrative and mirrors the bewilderment inherent in the tale. With each note, it weaves through the intricate layers of the story, amplifying the emotions and uncertainties that characterize the film. The melodies, at times haunting and at others exhilarating, serve as a sonic guide, enhancing the audience's immersion in the enigmatic world painted on the screen.
A special tip of the hat to Michela Sale Musio, who embodies a character both powerful and delicate, delivering a solid performance that lingers in the mind.
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- Budget
- €92,000 (estimated)
- Runtime
- 1h 44m(104 min)
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