This movie is absolutely loaded with ideas.
Summary SCREENRANT VIDEO OF THE DAY SCROLL TO CONTINUE WITH CONTENT Writing about La Chimera in the concise, linear format of a review is a real challenge for me. Not because it's especially opaque or impenetrable; on the contrary, it makes for quite welcoming viewing. But the new Italian movie from writer-director Alice Rohrwacher is alive in the way great art can sometimes be. Its ideas are many, and its way of exploring them encourages an open, active mind.
Apart from his activities, he has a benefactor in Flora , the aging matriarch of a family of daughters who lives in a grand but decaying house in the hills. The fiery woman has only the kindest words for him; he was beloved by Beniamina , who may have been her favorite child. Though Flora speaks as if she could return at any moment, the faces people make as she talks tell us Beniamina's gone somewhere she can't come back from. Arthur does not speak of her, but dwells on her in dreams.
La Chimera Is All About Our Relationship With The Past Rohrwacher doesn't prescribe one way to see it La chimera is, above all, about how we engage with the past, and Arthur is only the place where the movie's many themes intersect. To trace a new branch, Rohrwacher makes space for more lenses than just archeology. The tombaroli lend no special weight to the Etruscan tombs beyond their potential value, but most locals are deeply superstitious about disturbing the dead.
So, the supernatural is in play. Maybe. La Chimera also engages with myth and dreams, and it's not always easy to sort things into "real" and "not real." Scenes that, at a story level, show no sign of strangeness often feel unreal, in a poetic, Felliniesque way. This is the key to its magic. As much as Rohrwacher is exploring all these ways of framing the past, her movie is also putting those same frames around its '80s setting.
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