13 December 2012

De Brea paints an uncompromising, unadorned picture of the debauched life of the Italian bourgeoisie from the turn of the 19th century, of the things hidden behind the walls of the rich mansions and homes, of the things that are hidden to the eyes of the ordinary folks.

The ascetically formed set, where some precisely placed chairs and cubes upholstered with black cloth with pretty, richly embellished glasses, tea and coffee cups, a telephone and a pile of other everyday objects unobtrusively indicate different interiors: Hermil’s home, his mother’s castle, theatre, the home of Hermil’s mistress, suppoorted with the sensual music tapestry, is an invaluable theatre polygon for the actresses and the actor who matter-of-factly and deftly deal with the material given.

Thanks to the five actors […] the piece is a homogenous whole and a precisely drawn portfolio of the emotions, relationships and complex character traits of individuals.

Igor Đukić


19 December 2012

De Brea approaches Visconti’s last film (finished after the director’s death in 1976 and based on the 1892 novel of the same name, L'innocente, by Gabriele D’Annunzio) by searching or using theatre procedures that are close to those in cinema, but not by simply emulating them. The main role here is played by the soundscape (Fi produkcija) which the director uses to introduce the difference in spaces which the film includes – interiors and exteriors, the voices of persons and other sounds to evoke atmospheres in the perception of the spectator, for example, the salon (the space is filled with voices while the director’s scenography is reduced to only a few elements). […] If this involves the risk of deviation from (the differences, no matter how small from the recorded and live dialogues can be distracting), the soundscape turns out to be a fundamentally strong performance component.
The acting itself is adjusted to the staging built on sound, and it focuses on the essential traits while distancing itself from the imbuement with emotions, and this further consolidates the dialogue with the film. Retaining the film as a whole at times seems too persistent, despite the expressiveness of the sound image; but the latter is definitely a quality that decisively contributes to the unusual staging of the film material.

Ana Perne

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