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"Tutto passa, tranne la gloria dei cosacchi"
Renato Pozzetto returns to the dual role of actor and director for this 2007 film. The movie is based on the novel "Yono Cho" by psychologist Vittorino Andreoli, who participated in the screenplay along with José Maria Sanchez (behind the camera in "Mollo tutto") and Pozzetto himself.
The film is well made. It doesn't take on the typical laughing comedy twists adaptable to Pozzetto's character, but rather has a very sad and dark dramatic patina, represented by the sense of loneliness of multiple characters.
Pozzetto is an engineer left by his wife for his excessive passivity in their marriage. His life is overflowing with loneliness and unfolds in a sad and conscious routine until a Japanese company, personified by a young and elegant man, proposes an experiment: to test a tailor-made woman who meets the every need of clients. An artificial woman, specifically designed to satisfy the requester in every way: absence of jealousy, stunning body, eternal beauty, intelligent and sociable, full of initiative, and so on. Pozzetto accepts the experiment, realizing he is probably the type of client the Japanese company envisions, and introduces this wonderful proto-woman (Camilla Sjoberg) into his life, boosting his physical "stocks," social and work ambitions, and overall image. Essentially, his life improves significantly. Unfortunately, things take a turn for the worse.
I do not intend to reveal the subsequent steps of the story. Rather, I want to say that this film left me with a great sense of bitterness. Once you enter the character's mindset, you realize how loneliness corroded every cognitive mechanism, stunting every possible sense of living, allowing every type of relationship and work ambition to decay, even the fishing hut that represented a distraction. A finished man who does not awaken once he gets what he wants, what he asked for, but continues to corrode inside and suffer like a dog, struggling to regain lost ground, only to realize he can't manage himself or his desires. Anxiety-inducing, for the sense of loss, for the vacuum that ends up absorbing every planned action like a powerful disease. Everything has dark and very sad consequences, but the sadness doesn't come just from the character, but from the sense of what is missing from all the characters orbiting around the protagonist: dissatisfied colleagues, a conditioned boss, the wife (Anna Galiena) who leaves Pozzetto insisting on her possibility of making a new life but fails, or Mister S himself, the Japanese company employee, who laments personal sufferings and cannot express them even when he has the chance, absorbed by work to the point of destroying every relationship.
The significant is a dimension everyone chases but doesn't find, remaining in a state of dissatisfaction and emptiness that is filled with destructive stratagems. An elusive happiness, a sense of absurd uselessness and dependence on "things" that we do not recognize in any case. A burning illusion. A demotivating search we think ends when we repeat to ourselves "I wouldn't want anything else," lying.
Surprise. Pozzetto is his usual self, with his customary gestures, but his passive role is touching and convincing. The story is well-structured, creating tension and a sense of anxiety at just the right point. There are also thought-provoking insights into many other contexts, such as the world of work or the homosexual relationship (a likable Cochi Ponzoni tackles this ambiguous role filled with inspired fraternity). In summary, a good comedy. Recommended to the skeptics.
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