There is a kind of sadness that comes from living in an irreplaceable state of Fomo – or fear of losing it, as the shortcut goes. The experiments that dispel it if it does not appear on an occasion, the next song will not hear it if you leave an early party and so on. In Italian director Francesco Sosay, it appears that “The Last for the Road”, which seems to be Carlobianchi (Sergio Romano) and Doriano (Perbulo Cabophila). For these bankrupt men and sugar in a friendly, every burning drink is always the last drink – really, this time, the last time – until the next match that usually comes after that. For them, the party has never ended.
Fortunately, Carlobianchi and Duriano have never encountered as a drunken crawl (the way the elderly can be the elderly of men like them in real life), and there is a story of a story of friendship and increasing stories of the two: it is almost similar to their brown marriage, in the Italian style. The eternal fun industry may seem warm and mysterious at first glance, but in fact, there is a dark hidden for its existence, hiding just below the surface. It seems that the old days have retreated from them quickly. Perhaps the 2008 financial crisis was cruel to them as a husband who was burned from any money they possessed. If they only managed to dig the largest part of the money that their old friend buried somewhere in the city before leaving Argentina. Perhaps they will one day after the last drink.
Written by Sossai and Adriano Candiago (and was born loosely from some of their realistic experiences), “The last one on the road” realizes the fears of its leading characters associated with aging, such as Carlobianchi and Doriano in the seventies of the last century. Suddenly, you realize that the things you can divide have occurred about 10 years ago are outstanding events during the past three decades, and that the time slows down to anyone. So who can blame the two for a desperate attempt to stick to the present?
Although Sossai does not fully inhabit this sadness, its exact existence still provokes its modest advantage in sad quality, a sad aura that goes back to the amazing Alice Rohrwacher films. The atmosphere full of pain and pain for Rohrwacher’s films is similarly against the background of Carlobianchi and Doriano during their ban, and the exchange of random stories (may be real, and perhaps makeup). Against the background of their journey in which the glorious rifle plains, landscapes and settlements that seem to be stuck in a transitional space, such as Carlobianchi and Duriano, do not stop between urban and pastoral.
The smartest thing that an old person (E) can do is to transfer their acquired wisdom to young people. While Carlobianchi and Duriano often face difficulty in remembering the lessons they learned and the disclosure they landed (they are constantly drinking, after all), they do so exactly by taking them under their young Julio (Philipo Scotti), a student of architecture who rise and enjoy.
Although more flexible and adventurous in its structure early, the “Last Off The Road” assumes a more traditional tone as the TRO team is moving through an unavoidable wild journey. The opposite themes played by the movie while gradually reducing the touch also-it is a somewhat vulgar feeling when the movie devotes a great deal of time to the oldest couple that advises Giulio to women, which ultimately allows it to be linked. A confident smile until then is the shy Julio on his face as a result.
It was beautifully filmed on the film stock, “The Last One for The Road” still has a lot to advance elsewhere, especially in the photography of Sossai of different architectural structures during the central road trip. The palaces and modern buildings are both improvised characters and the various trip, and some cases inspired by the innovative memories of the past that wandered together in the past and the current presentation of filmmaking. Meanwhile, Richard Linclter’s rhythms are remembered with the characters of organic bonding and talking about their opinion. (A ridiculous note about who has invented a shrimp cocktail in particular with a nostalgia wink in the nineties.) When everything begins to feel repetition, it raises an output of suspense in the film with the trio team that deals with Cons The Tell during the charming Daiquires.
You don’t leave “last one on the road” with feeling that you saw something original in life. But there is still a sense of disarmament comfort in the continuous behavior of the movie, and the reward of Giulio if it can be predicted. In one of the many scenes of the film that goes at a transverse pace, Carlobianchi and Duriano Ice Cream enjoys a flavor that he did not intend to eat, and expected a bitter taste, but getting something sweet instead. At that time, they can also talk about the smell of their lives, but in the opposite direction. This is the spirit of “The Last One The Road” in short: keen to feed her fans with something sweet when everything looks bitter.