mancusoMINI: La Chimera

The gorgeous period drama is held back by essential screenplay issues

mancusoMINI is a series of short-form reviews for new films that I saw but that are beyond my primary review slate (or I just didn’t have enough time to write a full review).

I often found myself frustrated by La Chimera - gorgeous film stock cinematography mixed with an obvious authorial vision just can’t seem to take an otherwise interesting premise on paper and materialize an engaging narrative. I never find myself engrossed by the story so much as set apart from it, unable to wrap my head around the thematic ambitions of director Alice Rohrwacher, who presents a collection of interesting ideas that never quite coalesce. Grave robbing is a central component of the throughline and protagonist Arthur’s skill set, but Rohrwacher only briefly explores the ethics of such endeavors. To be sure, he’s called out for it several times, but he remains on the path that Rohrwacher has set out for him rather than organically navigating a diegetic world. The refusal to change seems to become the central idea of the film by its conclusion, but Arthur, despite a suave Josh O’Connor, is so bland and passive that this stasis feels less of a rejection of a better way and more of an act of least resistance. He’s contrasted by a cast of vividly realized, if perhaps a bit histrionic, supporting characters, and their interactions and escapades showcase just a touch of magical realism, framing the film in mystical, lyrical, and even impressionistic ways. These qualities culminate in the film’s final moments, a strangely beautiful moment of catharsis that I wish was explored more explicitly and with more intentionality. The film is a gorgeous rendering of a world and its inhabitants, but issues with its screenplay hold it back from true greatness.

7/10 - Good