Angelo (2018)

Director: Markus Schleinzer
Writer: Alexander Brom, Markus Schleinzer
Cast: Makita Samba, Alba Rohrwacher, Larisa Faber, Kenny Nzogang, Lukas Miko, Gerti Drassl, Michael Rotschopf, Jean-Baptiste Tiémélé, Nancy Mensah-Offei, Christian Friedel
Seen on: 4.12.2018

Content Note: racism

The Countess (Alba Rohrwacher) wants a new accessoire, so she heads to the slave market to get herself a black boy. The first Angelo she gets gets ill and dies, unfortunately, so she gets another one. This Angelo (Kenny Nzogang) is hardier. He grows up in her household. Baptized and educated, Angelo Soliman (Makita Samba) becomes the court mascot in Vienna. But he will not be confined to his assigned role.

I’m afraid that I saw Angelo on the wrong day and in the wrong way, so I’m not sure how much of its lack of an effect on me is due to that and how much is the film itself. It definitely does have very strong moments and is interesting in many ways, so I definitely wouldn’t discount it entirely.

Angelo as a child (Kenny Nzogang) and the countess (Alba Rohrwacher) standing next to each other. She's praying.
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Io sono l’amore [I Am Love] (2009)

Io sono l’amore is Luca Guadagnino‘s newest film, starring Tilda Swinton, Flavio Parenti and Edoardo Gabbriellini.

Emma (Tilda Swinton) is the wife of upper class business man Tancredi (Pippo Delbono). A Russian emigrant herself, she’s not only literally but also figuratively exiles, though she seemingly has everything – money, three kids, a good life. But when she meets her son Edoardo’s (Flavio Parenti) friend Antonio (Edoardo Gabbriellini) they connect and soon Emma finds herself in an affair that shakes not only her existence.

Io sono l’amore has an excellent cast and some things were very nicely done, but I just didn’t like Guadagnino’s directing style (which is too symbolic for its own good), nor did I like the ending (which is just a little ridiculous).

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