Three episodes

The death of RMF

To maintain his economic and social privilege, a beautiful home, and a stable married life, Robert must scrupulously follow all the requests of his boss Raymond: clothes, food, readings, daily habits, sex life, drinks, until an extreme request disrupts the balance maintained for 10 years.

The new experience of freedom that Robert will be forced to live will lead him to the most radical humiliations. Fear terrifies him, solitude overwhelms him, and he must find a solution, the only possible one.

With How Deep is Your Love by the Bee Gees, this episode closes, inevitably recalling Miserere by fellow countryman Babis Makridis.

A dive into Etienne De La Boetie's Voluntary Servitude, bitter, inexorable, irrevocable, incurable, irretrievable.

Freedom is a specter to be fled from; the inability to manage it is pervasive, unconscious, and macabre.

RMF flies

Daniel is a police officer: the disappearance of his wife due to a shipwreck triggers his disorder.

He is terribly distressed, and when his wife returns, he immediately notices behaviors that do not correspond and convinces himself that she is not her.

He begins to manifest discomfort, and even his colleagues are worried: he lives a persecutory delusion between strong convictions and surprising requests to his wife Liz, who complies as Bess did in Lars von Trier's Breaking the Waves. But as is well known, conviction makes many ridiculous martyrs and many grotesque executioners.

The theme song of the second episode with humanized dogs is surprising and a prelude to the third.

RMF eats a sandwich

Or: Faith begins where religion ends (Soren Kierkegaard)

A purple Dodge Challenger screeches through the streets with Emily driving, and along with Andrew, they head to a hospital to test a candidate to see if she can resurrect a dead person in the morgue.

A promiscuous and mysterious community, obsessed with water contamination, is looking for an untainted individual who can perform her activity on a luxury yacht. Omi and Aka are in charge, and Emily, who has left her husband and daughter, dedicates herself to this cause.

A dream, two twins, a veterinarian, a dog, a rape.

An overwhelmingly powerful finale.

This is a rich version of Amores perros, where Inarritu echoes through the famous line: "If you want to make God laugh, tell him about your plans!"

A film written together with Filippou of Dogtooth, Alps, The Lobster, The Killing of a Sacred Deer.

The persecutory delusion of paranoid conviction, the observation of how people are confident in having control over their lives in the unaware (il)liberty of deciding.

The granted power, the coveted submission, the necessity of control, the trade-off of one's freedom for a bit of security... as Freud would say.

Human relationships that are not relationships but grafts of precarious and servile organisms, sadistic and sacrificed to the mystery of the body.

A film where heterosexuality is surpassed, ethics are unknown, while immunity to critical thinking reigns.

Identity remains a false promise in the face of the anthropological insufficiency that must be acknowledged; Lanthimos's sarcasm distances us from the attempt to illusorily fill the constitutive condition of this lack.

More than a project, a choice, a responsibility, an ethics, a deontology, life is action without thought, an act of abnegation, a fandom... it is siding with one side or the other thoughtlessly.

The sacrifice of oneself in work, in the couple, and in society... Voluntary or unconscious?

The black and white to tell a story or a dream, between villas, hotels, sophisticated and pleasant places; the music of the great composer Jerskin Fendrix manages to keep emotions in suspense, perfectly balancing the voids using piano and choir to balance the paradoxical, dark, and dramatic humor of the Greek director in his circular, anything but eschatological vision.

07-Jun-2024 by Beatrice