While the fascist policy is very high in certain parts of the world, the very creative Igor Pesinovich movie, “Fiume O Morto!” It is a reminder that even the most repressive dictators and Vainglorious can have a quick legacy. The dictator in this case is Gabriel de Anounzio, the famous Italian poet and an army officer who, in 1919, has taken it upon himself to occupy the city’s political disputed city – is now called Resikika – and its conversion, for a short period and concealment, to the Italian Regency of Carnaro, a city country Independent Dusy. The ridiculous arrogance of this endeavor was placed in the movie Bezinović, which wanders in more than 300 Regika’s population today to give the short character to the short d’Nnunzio of terrorism with everything that calms down, and this is absolutely nothing.
The result is very convincing and entertaining – a hybrid experience similar to what American investment maker Robert Green achieved in the movie “Bisbee ’17”, to more defeated parties. But big ideas support all the historical documentation, such as bezinović-itself, Croatian-hears the reputation of D’nnunzio on both sides of the Italian-Kuwaiti border, and thus the long-term community effects of failed to be completely romantic or completely forgotten.
Even when he keeps his own eyes in the past, “Fium O Morto!” – The title is a dry signal to the Lione or Death Military Military Logo! – He finds a space to celebrate the contemporary brocked identity of a region belonging to multiple countries over the years, with the demographic and linguistic diversity that requires. After obtaining the higher prize in the TIGER competition in Rotterdam, the first Bezinović feature must be since a “short journey” that was well leaked for the year 2017 as a player in the year of the General Festival, and it is entertaining enough to attract the interest of ARTHOUSE General.
Bezinović says at Droll Soundover, after they have seen an intense but exciting summary of the troubled history of Regika with neighboring countries – accompanying the display of the reclaimed civil monuments, including the Fascist Victim Street called frankly (formerly via Rome). Consequently, the tone has been assigned to a documentary alike significantly and how to reformulate the past by successive generations, and how even at the present time along the political and geographical lines.
In the center of Rigica, Besinovic is conducting a series of interviews that were conducted on the pavement Fox Bob asking people about their impressions about D’Nnunzio – only to find, especially among the young people who consulted, that the man who once claimed violent the city was not recognized by his city or I remembered at all. The memories of others differ in sympathy, perhaps according to their heritage or the era of education: while many contempt for it is just a “fascist”, an older man adds that he was also a “great and lover”. These interviews also act as informal casting sessions, as film makers ask many of those interrogated – regardless of their historical knowledge – if they want to participate in its acquisition and subsequent fall.
Some of them are chosen for their material characteristics-a small group of non-professionals is manufactured to play D’Nnunzio, which faces challenges at different stages of the coup-while others have useful linguistic capabilities. “When I hear Fayoutani, I hear Rigica that did not exist for a long time,” says a spokesperson for the faded gun tone of the city. The man quickly replied that it seemed soon that it seems that a volunteer for the Bohemian musicians volunteer in the Bohemian volunteer in a de Honzio soldier, although Pesinovic noticed that he seems more than anarchist: “Many of that in the army,” the man quickly answered. Individual and historical explanations, after all, are largely the goal of exercise.
Starting with a targeted d’Nnunzio trip with revolutionary thinking from Venice to the border in 1919 and ending with its humiliating retreat after 15 months after the war was announced rash on Italy, the historical film legislation is achieved with actors and narrators of intense amateurs, the period, the appropriate fashion period, not much In the way of resources. The site was shot in the martyrdom of the relevant Rijeka, the scenes are widely attributed and design, using a wide archive of 10,000 pictures taken to document its potential victory. (The proportion of the width shrinks to the height and is reminiscent to match their great books.)
However, the outdated urban features and budget restrictions repeatedly undermine the authenticity of the exercise in ways that are wonderfully elaborating the gap from then and now. The main speeches are sincerely connected to an audience of two, not thousands; A scene of soldiers who reveals a devastating bridge is given a different spirit through the paradoxical Horsplay game.
However, the history of bezinović, which was completely restored, proves its own, in its own way, very immersive, not least in the entertainment concerned with the five-day “blood Christmas” battle, which reached its climax in d’annunzio recognized by defeat-as we have made us emotional investment In this city under siege. Return to Rijeka, which Croats offer on this day, is relief, enlarged by Koda, in which the director shows some extent the extent of physical and architectural souvenirs in the time of D’Nnunzio in the city. Through the border in the nearby Trieste, and at the same time, a statue has recently been honored the centenary of its occupation: a caustic reminder in this texture of the texture, that history not only written by the victors.