Awarded the Special Jury Prize at the 41st Venice International Film Festival, this absurdist comedy, with its sprawling cast of crooks, thieves, anarchists, prostitutes, chief inspectors, ...
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Awarded the Special Jury Prize at the 41st Venice International Film Festival, this absurdist comedy, with its sprawling cast of crooks, thieves, anarchists, prostitutes, chief inspectors, art dealers, and inventors, calls to mind the bustling tapestries of Robert Altman. The story revolves around two objects, a rare set of 18th-century Limoges china, and a 19th century aristocratic portrait. As these items are passed, sold, or stolen from one character to another, a giddy round dance of excess begins to take shape, one which suggests that if history doesn't repeat itself, it certainly rhymes. Together with co-writer Gérard Brach, whose other co-writing credits include Repulsion and Tess, Otar Iosseliani uses a feather-light touch to expose the futility of class and social order, making a bagatelle of the concerns of rich and poor alike.Written by
OK, this film is terrible. There are just a few far-fetched reasons why someone would like it. It got an award at Venice International Film Festival (that must mean something, right? RIGHT?) It has a decent portrayal of the 80ies, so if you are feeling nostalgic, it might do the trick. And it has an unorthodox approach of not having a conventional story per se, but rather mixes up a bunch of different characters, tying them up a little as time goes on.
Other than that this film is a disaster. Most of the characters are terribly miscast. Most of the time they are walking around or talking with pretty much zero emotions. There is no character introduction or development whatsoever. Some scenes are so cheesy they are painful to look at (ie the scene of a bomb selling gone wrong).
Trying to figure out any sense in this mess is a lost cause, but I'm sure there are people who will find it anywhere given enough time and motivation. Don't listen to them.
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