LA SECONDA NOTTE DI NOZZE is yet another atrociously downbeat and offbeat Avati movie; the sources of Avati's cinema are essentially dramatic—a dramatic situation, freakish characters, a heartrending misery
. I have found this movie even more downbeat than the rest of the Avati outings. The world it depicts, in a stern light, is one of injured persons—injured by prostitution, illness, malice, greed, etc.. Avati follows his habit of unmasking the illusions, of uncovering the true nature of people, actions, etc.. And in LA SECONDA
his characters are exceptionally nasty and dirty morally.
The director dedicates his movie A TUTTI I BAMBINI CHE FECERO UNA GRANDA LUCE.
LA SECONDA has several characters—a mentally clouded man and his two care-taking aunts, the whore he loved since he was a kid and who won't give him what she regularly gave to literally everyone—and cruelly stops him from feeling her tit, a scoundrel who's the whore's son, a few other people. In Avati's world, pals, the goodness shines with a heartbreaking, alien and almost chilling light; a world of reptiles, that knows no stops. Otherwise, Avati is a satirist, and he finds some humorous touches; Liliana's son seems particularly repulsive, a creepy sickening scoundrel who cheats everybody.
In this particular movie, the goodness is sinisterly associated with mental clouding. The notion of presumably redeeming love is itself grievously perverted—an ill man's lust for a shameless whore—though a whore appreciated as 'pretty fresh' by a driver—a fat placid blonde, for those who did not see the movie.
The director dedicates his movie A TUTTI I BAMBINI CHE FECERO UNA GRANDA LUCE.
LA SECONDA has several characters—a mentally clouded man and his two care-taking aunts, the whore he loved since he was a kid and who won't give him what she regularly gave to literally everyone—and cruelly stops him from feeling her tit, a scoundrel who's the whore's son, a few other people. In Avati's world, pals, the goodness shines with a heartbreaking, alien and almost chilling light; a world of reptiles, that knows no stops. Otherwise, Avati is a satirist, and he finds some humorous touches; Liliana's son seems particularly repulsive, a creepy sickening scoundrel who cheats everybody.
In this particular movie, the goodness is sinisterly associated with mental clouding. The notion of presumably redeeming love is itself grievously perverted—an ill man's lust for a shameless whore—though a whore appreciated as 'pretty fresh' by a driver—a fat placid blonde, for those who did not see the movie.