Después del diluvio

Subtly experimental, notably reductionist, especially in the use of relatively uniquely grasped temporal ellipses continuously hidden within sharp, seemingly conventional cuts: the editing thus beneath its apparent traditional shell conceals more betrayal than the capricious characters of the narrative. On the other hand, it divulges nothing more than the mystery of its temporal contraction to the viewer, leaving them with a slightly frustrating sensation after viewing the film, that it could have harbored a greater potential than what's realized here: in vain, we anticipate the emergence of a self-contained poetic surreality akin to Jakubisko's Birds, Orphans and Fools (1969) from the stylized microcosm hints, or that the classical relational triad will unfold into deeper and more luxuriant analogies and hyperboles, as with the contemporary master of this genre, Marco Ferreri. Nonetheless, the film offers skillful artistic cinematography, albeit brought down by (perhaps ironically intended) a kitschy, sweet soundtrack, soaking this film in the worst of the 60s inversely to how the camera strives to approach the better aspects... (26/05/2024)