Tetro (2009)

Tetro is a movie which did not get much attention, although directed by a cinema master like Francis Ford Coppola. The story is an original one (as far as I know at least). The plot is excellent, plot turns are numerous, actors are excellent in their roles.

A younger brother, Bennie (Alden Ehrenreich) visits his older brother Tetro (Vincent Gallo) in the house where he lives with its companion, Miranda (Maribel Verdú), trying to get some answers about the family where they grew together. Tetro, in itallian means gloomy, this being an understatement for the character represented. Things are much more complicated than they appear at first. Coppola is indeed a master, placing each tile of the puzzle beside the other as he reveals the reasons for the behavior of the characters presented.  Presenting the past in color and the present in black-and-white (in contrast with the usual practice) seems like stating that the past is what ultimately defines us and our behavior. The mix of ballet scenes within the flow of the movie (as was used in “the red shoes“) looks like poetic intervention in a book. The light, used in every part of film (the insect flying near a light bulb at the beginning, the halogen light-bulbs igniting from their ends till they make everything white, the mountain glaciers reflecting sun rays, the car head-lights to the end), has a central meaning to the film, allowing for more than one interpretations.

The film is, at least, a statement about the family as it functions now within society, the genius mind and how it may create havoc, the struggle of the individual to find its way within the havoc, the truth and how hard it is to look at it in the eyes. There may be many more things to see, as it is a film that may be read at more than one levels. If you like to analyze a film from the psychological point of view, you’ll adore it.

My rating: 07 / 10

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