The wild West appears to be tame alongside the meaningless and meaningless continental plains of “heads or tails?” It is an enjoyable west euros that honors the stylistic and structural traditions of this type with the occupation of its own reality. The second feature of the Italian duo is characterized by the duo Alessio Regi de Regi and Matteo Zubbis, rocked cowboy, courage widow, pistol, and Bouvalo Bill Cody himself-all at a varied level in the extension of northern Italy north north. But if these elements are like the standard ingredients for old schools ’wives, or even the spaghetti joint in the Lyon era, then this Sui Jersus The element takes a turning point for the stranger even before flying to an explicit surreal.
One of the most unrighteous titles at the Cannes Festival this year – where it was first shown at the United Nations in the square – “heads or tails?” It is more flexible and Loopior than the De Rijhi and Zoppis’ Cultish 2021 “Tale of King Crab”, which was already playful. This film bent over the background of the husband’s documentary because it collected the regional flag and translated it into a fictional cinematic imagination. They keep their follow -up of this interest in the changing nature of the folkloric stories, all the way to a framing device that offers events on the screen as Cody dictates it to a personal secretary. As I played by health, the amazing John C. Reilly-inspired by the interest in the distributor in this dual-language Italian production-the historical show man was designed here as the least reliable of the narrators.
The American icon was introduced away from its home borders, as he toured the famous travelers’ circus throughout Europe (plays itself, at a break from Western Western traditions, instead of bringing the American desert closer) at the beginning of the twentieth century. The story is driven by a realistic accident, when Kodi’s men faced a challenge by a group of Italian cattle Zabdabi To a kind of fencing from cowboy – she won her before the latter, including Alfa Beam Augusto imperioli appeared as a local popular hero.
In the film version of the events, Imperioli Santino (The Eight Mountains “Alessandro Borghi, one of his followers is handsome and immersed in the rocks who wins the competition-and is a healthy group of Italian nobles ruso (Mirko ARTUSO), which bets on the Home team. Meanwhile, Santino holds the rocking eye of the young Ruby’s wife Rosa (the successful French star Nadia Tereskvich), who wants desperate from her abusive marriage. Later in a later close bullet, RUPè died while Rosa and Santino were running away from the wilderness, at a large price at the head of the victorious-Wakodi contestant, who turned into an opportunist, in a fatal chase.
Here comes the film’s interest in building the legend in a narration, as Santino embraces its sudden new situation as a warrior or a warrior, all because of a crime that he cannot claim frankly. The rolling musical sequence in which its unprocessed reputation exceeds, which is a high point in the film that is repeatedly weaved a song in its fabric of the story-which emerges from the flagrant and naive assumptions and enrollment from Vitorio Giabetro-with the editorial workers with his escape. (Riley, who has never hesitated to show his musical slides, also contributes to the original compositions. It was ever.
While Riley, who plays the role of Cody as The Code, gets more famous disturbances, he is from the Tereskivich and Burgi who bear the largest part of the film as fugitive fans who adhere to more than just a deadly fatal whim. Both seem part of their type-bigy models in particular, with Sky-Blue Scowl and Sandy Stuffle, born to do at least one Italian-horse opera in his career-while their performance reduces these expectations from the inside out. Cowboy in Burghi is all hollow for taste, while Terescievich plays Rosa, does not suffer from a lady or girl in distress: instead, she is keen, even when two testicles are launched with a frightening accuracy.
Rosa’s calm nerve is better provided by other characters to obtain a final, unseen law, which transforms the record from the popular story to the imaginary stories of adults, as the rules of life, death and reason are no longer regularly. This shift to more imaginary terrain leaves a traditionally meager human dynamics to the West, and may divide the masses.
However, “heads or tails?” It pulled it, in a large part of it because the superior consistency in the world of his story is still clearly consistent. DP Simone d’Acangelo mostly honors a diverse stock film, expanding the superior beauty of the real scenery of the real film and the intensity of the dirt that mixes the Leone-Land-Land that inspired the De Rijhi and Zoppis-and even serves some of the saturated ships, which reach Hollywood.