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Rating: Farewell to the sun-drenched, traditionalist, and dialectical Sicily of "Baarìa" and welcome to the new world of Giuseppe Tornatore: that of an unspecified city and the hidden and dark corners of a 19th-century villa. This is where the mental geography is constructed, the psychological game between the two figures that animate the film: Virgil (an excellent Geoffrey Rush), an auctioneer, antique expert, eccentric, germophobic, and with problems relating to the opposite sex, and Claire (Sylvia Hoeks), a figure long undefined due to agoraphobia that "forces" her to retreat into her room, which apparently seems to be her world. Between the two, a strange, ambiguous, strong relationship will form, destined to apparently change both their lives.
Tornatore paints a trembling film that plays on softness, on things unsaid and unseen. A slow advance, but suited to the atmosphere created by the Sicilian filmmaker, who plays on the fear of the other, the different. A world full of fears, that villa as the exemplification of the contemporary world, increasingly prey to anxiety, mania, distances, and often work that engulfs any kind of interpersonal relationship. He does this with a visually interesting film and with balanced direction that gives space to the actors without being "banal".
"The Best Offer" is a successful work, balancing between an unusual thriller and an equally improbable love story. Tornatore manages to distill the two hours into a final climax that is probably a bit predictable, but that leaves us there, along with dear old Virgil, pondering over lost, missed, stolen things.
The filmmaker from Bagheria molds a "compact" film, free of smudges and excessive sophisms. A well-written plot by Tornatore himself contributes to giving a precise evolutionary direction to the film: except for some lengthiness in the second half, also from a screenplay/entertainment viewpoint, "The Best Offer" can be said to be a successful film.
"In every fake there is always something authentic hidden..."
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