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The clash between the two warriors is inevitable, Abbruzzese has the merit of filming it like a dance, using the thermal camera instead of the camera to offer unpublished, colorful images, aimed at confusing victim and perpetrator. Why it is not a thesis film,__ Disco Boy__. It’s not anyone’s great metaphor. It is the psychedelic and shamanic tale of an encounter with the other, indeed, with the absolutely other than oneself. Different in culture, language, origin and past, the two protagonists of this story are both “the unknown, the stranger, the enemy”. The other to break down – yet to know, to assimilate, to introject. It’s a great film about otherness, which knows how to fascinate thanks to its peculiar style and its great formal care, very far from the sloppiness of many Italian films.
Co-produced, shot and performed in different countries, places and languages, it is a syncretic work in which everything is held together by the director’s interesting gaze. A look that is never rhetorical or judgmental, capable of transforming a woman from an African village (the artist and activist Laetitia Ky) into a mesmerizing night disco deity. A look that never ignores centrality of bodies: bodies that train, that crawl on the ground, that fight, that dance, that suffer, that dream, that love. It’s also a movie on the power of empathy and on that sense of humanity that sprouts even in the most brutish of souls, capable of overturning for once the feeling that in Italy you always see (and make) the same films.
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