Cult Review
Senior Film Conservator

If you like old Italian stuff where everyone looks exhausted and the lighting is mostly shadows, you’ll probably find something to love here. If you need a movie that explains why characters are acting like complete lunatics, stay away. This one just doesn’t care about your need for clarity. 🎥
Osvaldo Valenti brings this weird, frantic energy to the screen that I couldn't look away from. He’s all nervous hands and darting eyes. It’s not a subtle performance, but it fits the weird, jittery rhythm of the film perfectly.
There’s this one sequence in a kitchen—I think it’s a kitchen?—where the camera just stays on Isa Pola for way too long. She isn't saying a word. She’s just staring at a glass of water. It feels like the director forgot to yell cut, but somehow, that makes it better. It’s weirdly human.
I found myself thinking about Der Polizeibericht meldet while watching this, mostly because of how both movies handle their grim environments. Neither film feels like it wants you to be comfortable. They just drag you through the mud.
Sometimes the movie gets really quiet. Like, 'is my internet broken' quiet. Then someone will shout something and it’s jarring as hell. It’s not a polished experience, but it’s alive in a way most modern stuff isn't. It’s got that raw, unfinished feeling that I really dig.
I’m not entirely sure what the point of the middle act was. Maybe it was about the social politics of the time? Maybe it was just filler? It doesn't really matter. The way the shadows fall across the walls is enough to keep you hooked even when the plot goes off the rails. It’s definitely not perfect, but I think that’s the whole point, right?
Anyway, go watch it if you have an hour to kill and don't mind feeling a little bit confused by the end of it. It’s not going to change your life, but it’ll stick in your brain for a few days like a bad song you can't get out of your head. 🎞️
Year
1934
IMDb Rating
—

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Deciphering the legacy of transgressive cult cinema.
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