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On the other side of the spectrum of the moviefollowing a plot almost parallel to that of the detective, there is the serial killer. We see him immediately, psychopath from the beginning, obsessive maniac, monstrous in appearance who, in order to pick up women to kill and inexplicably disappear, puts on a blond wigs and mustache, dresses strange and masks himself to resemble the monster from Milwaukee ( that of the series Dahmer), as if it were a cosplayer of serial killers. Dressed in this way, hoping in vain not to attract attention, he frequents squalid environments and hooks up with desperate women whom he can then tear to pieces without anyone or almost noticing. It is this of the missing reports of disappearances that could be very powerful (we are in a place full of people who nobody cares about), the topic that could have been better explored..
Just these seedy environments they are definitely the best part of the movie. After the strange world of The man of the labyrinth, Carrisi returns to leaden northern Italy, often nocturnal, humid and wicked, a very credible place in which to set well stories that speak of human wickedness. Everything is plausible in places like Dancing Blue, a horrid nightclub for old people, a receptacle for desperation and low-grade alcohol, cigarettes and Italian music that seems bland Finnish rock. The bad it is visually credible already from the faces and places. And in those environments, as in the best thrillers, there is the distinct feeling that the crime investigated is one of the many possible that hovering and that even those who are innocent could be guilty of who knows what else. Closes the circle of excellent environments the house of the protagonist, who seems to live within her own trauma.
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