Great performances from Vincent Gallo, Alden Ehrenreich, and Maribel Verdú make this slow-burn drama, with many moments veering very close to noir in tone, a mesmerising and intriguing watch. Writer-director Francis Ford Coppola delivers one of his better films in recent years, and it's a shame that very few people seemed to take notice of it.
The choice of black and white for this film seems perverse; it is set in the vibrant, colourful city of Buenos Aires, which is drained of life. The whole father/son thing is melodramatic and overplayed, and the story never engages; it kind of limps along. It has Carmen Maura but it is no Almodóvar. Could have been good, but is just aimless and disappointing.
Bringing with him skills garnered in a long career, Coppola has become more interesting as time goes by. He focuses sharply in his later works and displays a deep understanding of the human condition with all its foibles. And to be honest, evidence suggests that the foibles of humans far outweigh the shine of youth. Tetro is a classic work of cinema in an age filled with razzle dazzle, sparkle&hype for the new.
A fine return to form for the great director. The many elements of beauty include the monochrome cinematography, the moody score and the sublime dance sequences. Perhaps the family saga plot is a bit overloaded, and the grand operatic festival/funeral finale jars with the previous subtler tones, but it remains a wonderful watch.
It has its artistic moments, the contrast between black and white and colours is well thought and well proportioned, the significance of which frames the timeline between present and past. The use of lights and flashbacks is good and some of the scenes are cinematographically artistic, at time pretentious. However, it is way too slow and the narrative is weak and predictable, it drags at times. Not Coppola's best.
Quelque chose de romanesque dans ce film, qui, au-delà du noir et blanc, rappelle les films des années 50. On y ressent une certaine solidité littéraire, à travers l'incarnation par les acteurs de personnages dont l'histoire semble toute tracée sous nos yeux dès le départ. Ce ressenti superposé à l'intrigue forme une mise en abyme, ce qui donne à un récit simple une armure élaborée.
La famille et Coppola ! L’image est absolument sublime, les plans extrêmement travaillés, souvent fixes, véritables tableaux d’une composition magistrale. La caméra, souvent oblique, notamment dans les plans d’escaliers, induit un désaxement du regard et fascine littéralement le spectateur. Il donne toute sa force au noir et blanc d’une densité impressionnante. Un final opératique des passions tragiques...
A broken brotherly bond that get's reconstructed by way of a long-abandoned play. Bennie, the younger brother, is the star of the show and gives us great insight into how his relationship with his brother used to be like. Tetro himself is a shell of what he once was though-out a lot of the film and it takes the play to also re-connect with himself.
totally odd story_ Vincent Gallo is annoying from the start _i really like Alden and Maribel they both seem alive_there are moments that are really wonderful like the beautiful sexy actress in the mini-play a delight_ Gallo does his best to drag the whole thing down into a sea of depression