The reviews of the films in theaters in the Veneto region: «The menu» and the others

A scene from the movie “The Menu”

The guide to films in theaters in the Veneto region

The Menu by Mark Mylod

In the last twenty years or so, the world of cooking and haute cuisine have entered people’s desires by force. As the stylists had been in the 80s, from the first years of the new millennium the chefs are firmly the new idols, understood starting from the root of the word, which contains within itself the absolutely pagan sense of divinity. In this imaginary fits the film produced by Disney (which coincidentally always has to do with desires, even when it comes to adults) directed by a purely television director (and as you can see …) and written by Will Tracy and Seth Reiss, both professional writers for TV. Those who have participated in starred or «exclusive» experiences will recognize some typical situations with which the film begins: the boat that arrives to pick up the paying guests, the sense of exclusivity that one feels, the inevitable confrontation with those traveling with us, in a small crossing that is the decidedly not multifaceted and very affected summary of what will then be seen in the film. An ensemble film, «The menu» however has protagonists, at least the most prominent actors. Surely Anya Taylor-Joy, the ex icy «Queen of chess», monoexpressive and decidedly out of role, Nicholas Hoult, the sacrificial lamb, devoted to haute cuisine and blind to anything that happens in a table dominated by the chef, lord and owner, Ralph Fiennes, in crisis as of desires and aspirations to the point of transforming the dinner of the super-selected and peasant guests into an experience that is difficult to forget. StThe elementary aura of the all-devouring consumer society lacks an iota of complexity, does not cause disturbance while wanting to shock almost every shot, between courses that exhibit the sample of molecular cuisine and severed limbs here and there. Difficult to digest, not due to the harshness of the scenes, but due to boredom and a general climate of affectation that enters the scene from the first shot.
Rating: 5. The good intentions of the script dissolve like a foam.

“Ghost Night” by Fulvio Risuleo

In a modern and crepuscular «Sorpasso» Tarek (Yothin Clavenzani) and the policeman (Edoardo Pesce) need a compulsion to meet. The handcuffs that the policeman puts on the boy caught buying some smoke are the means by which the story begins. From the bottom of his mysterious car, the policeman emerges to chase the boy, who runs away for a few meters then capitulates. It is the beginning of a “ghost” night, where both are ghosts for the others. The policeman’s life is destroyed by psychological problems that have alienated him from his family and are putting him on the sidelines of work. Tarek needs friends to exist, who ask him to come and get some smoke for an evening he will never get to. Risuleo scrutinizes them from the mirrors of the car, in which almost the entire film takes place and where the metamorphosis of the meeting takes place, in an almost deserted Rome, where everything is as if deformed by the eye of a dream. The film is all in the body of the two actors, the boy and the policeman, who give back to the viewer the fatigue of living, but the eternal hope that something in life can change, even if only for a moment. Even if only to accompany us to the inevitable finale.
Rating: 7. Risuleo is a creative filmmaker, who also draws comics and builds unconventional stories, weaving them with visionary details. To be seen.

“Princess” by Roberto De Paolis

The debut is like a fairy tale, right from the opening credits sIt seems to be in a “Legend” film where the little Princess, a nineteen-year-old Nigerian prostitute,

lives in an almost fairy world, in a forest where a prince on a white horse could appear at any moment. There is no piety, victimhood, petty sociology in De Paolis’s approach to the tragedy of Nigerian girls, who do not prostitute themselves by choice but to repay endless debts. Princess lives with her friends all the nuances of an existence where emotions are paid for and everything must be monetized “otherwise I just feel used”. When the prince appears in the forest populated by narcissistic, vain or poor men who died of hunger in search of some thrills, Corrado (Lino Musella, always very good) has the features of a boy looking for mushrooms to make a sauce . Princess doesn’t understand it, but follows him, she’s intrigued by him, even if she can’t afford “freedom”, mornings by the sea to feed the birds (“and you don’t feed people!” Princess says to Corrado), because every minute outdoors is one customer less. De Paolis wrote the film with a group of prostitutes who then played themselves and this makes the difference in a film that is not yet another photograph of a wound with which we live perhaps turning away, but a portrait of heart, sincere, colorful, multifaceted, of what happens on the streets and inside the soul of these girls. To which life offers little and we steal the rest.
Rating: 8. De Paolis builds a film that stays inside for days. With the ringing voice of Princess who does not stop scolding us.

«Bardo,falsa crónica de una cuntas verdades» by Alejandro González Iñárritu

In dreams we have our feet blocked by someone who holds them back. Our bodies can lift like feathers or be as heavy as molten lead.


We can flood an entire subway car with the little water contained in a measly plastic bag that houses three fish. And we can, perhaps, fly. The eagerly awaited new film by Alejandro González Iñárritu, which arrives seven years after “Revenant”, has the same enormous dimensions as dreams: almost three hours to tell the life and limbo of a Mexican investigative journalist on the eve of an important award from part of the American press. Visions, nightmares, big laughs, tears, scenes that touch the soul deeply, «Bardo» is a container where everything finds its place, even too much. There are visions that are truly experiences for the eyes and for the soul, there are irreverent ideas scattered above all at the beginning, when Mateo, the baby who died after only one day of life of the couple of the protagonists, is forced back inside by the doctors because he believes that the world is too disgusting to live in. Iñárritu’s hand transforms everything into cinema and cinema indebted to great visionaries such as Fellini, Buñuel, Andersson, Jodorowsky. But dilating such a personal, even if not entirely autobiographical, story into three hours means numbing the emotions. Multiplying the visions and allegories, which were understood all the same even without repeating them, obtains the effect of a full-bodied déjà-vu. It remains an important film, but a little more courage in the editing stage would have done the work a better service.
Score: 7. Iñárritu has a master’s hand, but if you go too far, you lose inspiration.

“Sentimental Crossroads” by Claire Denis

Sara and Jean are in love. The first scene, the most beautiful in the film (and I’m sorry to say it like this) sees them at the sea in a continuous ritual


courtship, immersed in primordial water, with no one beside them except the mature love of which they are the protagonists. But the sentimental crossroads is always around the corner. And one morning, by chance (but does chance exist in love?) Sara meets François, the man she lived with before meeting Jean. What to do? Live your passion or build walls behind which to watch the second chance go by without touching it? Sara goes out she climbs the wall and she touches François, she makes love with him, she pines away, because she already knows she has gone through a door where she will probably be alone. A very verbose French film that cloaks in words a banal story that has already been a thousand times better represented by certainly more exciting and thick French directors, this «Sentimental Crossings» has the great fault of making even a solid French actor like Vincent Lindon perform badly, here turned off third wheel in his own life. Denis has a passion for Binoche, since the days of «Chocolat» and this passion probably blinds the staging: the camera is placed in front of Binoche and nothing else exists. Forgetting that the strength of films like this lies in the power of the looks, not in the exhausting explanation of every single action.
Rating: 5. Too many words for a film that wants to tell the torment and ecstasy of passion.

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November 18, 2022 (change November 18, 2022 | 21:00)


The reviews of the films in theaters in the Veneto region: «The menu» and the others