DCP, 2k. In fact, by replacing animation with people, one didn't miss the heavy style that has always been his characteristic until eroticism has fully taken hold of his figurative universe, without major endeavors. A cult filmmaker - not mine - here he verbalizes with little subtlety the parable and surrealism, being the theatrical component, proscenium and theatrical act, which still makes the film breathe.
3.5 stars. Stumbling, fleshy humans in a world of dilapidated discipline. At times borders on the droll because Boro recognises that autocracies draw their sustenance from kitsch banality. The bevy of menacingly placid objects (tin baths; fly traps; puppet head) could leap form from their fixtures and cabinets and commingle in a Švankmajerian orgy at any moment!
Rapports de force, intrigues, érotisme constellent cette oeuvre "expérimentale" qui rappelle l'atmosphère étouffante des romans de Franz Kafka et dont la richesse du montage et la multitude de lectures illusionnaient sur le talent réel du réalisateur... www.cinefiches.com
'Goto' is a strange composite of disparate elements, some working better than the others. It's a literary film, the comparison thrown around at my screening was Kafka but I can't help see more of Raskolnikov in Andreani's Gono. Partly a satire of fascism, it's also a moderately successful stalker thriller and fly-catching romp. Striking imagery, odd plotting.
Really this should be 3 1/2 stars. I found it visually great, and the evocation of an insular society crumbling in on itself was well done. The central tale of Grozo – a kind of inverted Midas – was interesting enough, and the actor conveyed keen intelligence and moral wretchedness well. Ultimately though, the film felt shallow to me. But that may change on my next viewing.
I think this is one of those films,that I'll have to see again,to understand the film makers intentions.In his world of Goto, we have a society that appears to have stood still,maybe even gone back in time.Theres an austere brutality to it,where anything of beauty must die.At times the film itself looks like a throwback to early cinema and is both absurd and surreal.It feels like an harbinger of Pasolini's "Salo"!
The amorous, like the political, is a sad (though not, of course, unamusing) farce. What an assemblage! The domestication of animals is just wildly, unbelievably absurd madness. And, of course, we are domesticated animals. Self-importance makes adorable, idiotic little boys of us all. This is just one of the best things I have ever seen. Jiminy Cricket!