Dillinger Is Dead

Em honra de Maria Perego (1923 - 2019). Eu entendo as comparações desse filme com o Jeanne Dielman, mas enquanto o filme da Akerman é um libelo feminista da condição da mulher no mundo, esse aqui é sobre o nosso velho conhecido macho chato do caralho, mas é também interessante ver o filme de Ferreri como uma prequel espiritual de A Comilança pela sua relação com a comida. Plus: Trilha sonora brasileira! DVDRip no MakingOff.

A precursor to Jeanne Dielman? Maybe not, but it really makes a lot out of it's strange depiction of a mundane evening with a slow but steady growing sense of absurdity. It takes something special to make a film this captivating with so little dialogue, but the great performance, and use of music, add just enough to create the right mood.

ferreri plays around with form, sound and image in telling a tale of a man doing not an awful lot. except one thing. it's extremely unassuming and almost quietly comedic, and so this completely relaxed atmosphere when juxtaposed against this one thing is really quite shocking in a way. it could understandably be called ponderous or meaningless by some but for me this was rather interesting and unusual. also features pretty much no dialogue.

A masculine form of Jeanne Dielman that come off less interesting and certainly not as well put together. There is a certain charm to parts, though, and I enjoyed the ending in an abstract manner.

This piece of avant-garde fluff may have something to say, but I couldn't say what; the protagonist hangs around his house, finds a gun (which may have some connection to John Dillinger), cleans it, watches some home movies...and eventually, something more or less happens. The score is actually quite good, and much of the film passes by without complaint. But when it tries to do SOMETHING at the end, it's far too little and too late. Best scene: the protagonist eating honey off his maid's back.

Ferreri's deliriously inscrutable treatise on modern ennui, alienation, pop culture and misogyny, it absolutely delighted and intrigued me. Piccoli turns in a fascinating performance. His strange, anarchic actions are amusing and confusing and vaguely threatening, and it's often impossible to tell what is going on in his head or what is driving him. Ferreri uses diegetic music to tremendous effect. The film completely creeps under your skin. Wonderfully enigmatic surrealist social critique.