Lorenza Izzo amazes – / Film
In the 2013 horror film Green Hell, Lorenza IzzoThe portrayal of a naive activist trapped on an island with a group of deviants is largely forgotten amid the gratuitous depravity that steals every scene. However, I’ve always found his portrayal of a well-meaning stag caught in the headlights to be the most daring, gripping, and haunting performance in the film. She gave student Justine the vulnerability of a young woman struggling to accept her place in the world and the proud innocence that led to her eventual trap. And she does so with the shy grace that keeps the viewer by her side throughout the feature film, even after she so adamantly refuses to stay in her own lane.
This grace is fully exposed in Women are losers, Lissette Felicianois a daringly original and beautifully bittersweet film, based on real events, which just premiered at SXSW. Like Celina Guerrera, a bright and talented Catholic schoolgirl from San Francisco of the 1960s who finds herself in hot water after an indiscretion creates a series of devastating consequences, Izzo turns her character’s inner monologue into movement and gesture. She moves with the poise of a dancer, her footsteps like explosions on sloping sidewalks, her shoulders swaying like the tallest treetops in the afternoon breeze. He’s a star in the making, and the world would do well to take note.
Izzo’s performance is not noticeable by any stretch of the imagination. Neither did the film, by the way. Her mind may be ambitious in nature – a born mathematician, she dreams of a career, a white picket fence, and a way out of her dead end neighborhood – but she keeps plunging back into aggravated obstacles. to be young and alone. She sets out to overcome the oppression of poverty and invest in a future that sets new precedents for the time in which she resides, but she falls in love with a boy on leave from the military and ends up with a child. out marriage. She has several jobs, as a typist, as a janitor, and she saves as much money as she can handle, but her greedy father demands that she pay more than half of her share of the rent because in his eyes, she doesn’t. is still a sinner living under her roof. Her options for the future are limited and in her actions we see a woman doing her best to carve out a place for herself in a world that seems apt to punish her for daring to exist. Every time she moves, the air around her seems to tremble, her slender figure struggling against an invisible weight, the camouflaged chains of her socioeconomic status painted in silence.
It certainly seems intentional that gestures are central to Feliciano’s directorial debut. Her feature debut brings a vibrant and aggressive perspective to the feminist movement, a perspective that feels raw and confident, although its meta nature may aggravate those who view breaking the Fourth Wall as an ongoing living room trick. Inspired by the real-life events that she and her mother experienced firsthand as Latin women in America, Feliciano wrote, directed and produced the film, which tells the story of a single mother struggling for survive, but tells the familiar story with the added ferocity of someone who refuses to join the caste system he was born into. As the film travels through the 1970s and Celina jumps from job to job, slowly learning the tricks and tools she can use to make capitalism work for her for once, it’s hard not to seeing the frantic pace of her frantic walks like steps in a dance number, the mustard yellow of her sweater bursting against the gray gravel, her trembling hands vibrating pure frustration through her skin.
Anyone who grew up as anything other than a rich cis white man in the United States can relate to the idea that nothing in this life is free, that his time is worth half as much as that of a child in trust. . And yet, by setting up each scenario for the audience as if we were taking part in an immersive play, the film becomes physical. When Celina erupts in a moment of fury, screaming at the screen, asking us if we are ready to come out of our skin, its hard not to feel her fire, her heart is so close to ours, the heat palpable, burning frenzied flames.
The result is a film that changes tone, but on purpose. Women are losers exists within its own subgenre. Through the use of low-budget creativity and contagious energy, director Feliciano and his star Celina stubbornly push the potential of their plot far beyond what everyone expects from them and their families. limited means. It’s also refreshing to see a movie focus not only on its protagonist’s journey, but its supporting characters as well, spanning the paths of those of Japanese and Indigenous descent in addition to Celina’s. But in the end, it’s Izzo’s show. Her performance breathes new life into a story we’ve apparently seen countless times before, now remade.
/ Movie rating: 9 out of 10
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