THEY

A sheep in Villa Certosa, Sardinia, watches television and is killed by air conditioning.

The first extra in the film, she, the ruminating sheep, symbol or touchstone of meekness, or even more often of cowardice, cowardice, awe or animal passivity.

The other extras are always Them: Sergio Morra, who presents Candida with her roguish vaginal performances to the politicians on duty, because "big slut hearts beat in the province," which he generously offers as a bargaining chip for a school canteen contract. Amidst amplexes, back tattoos, cocaine snorting, wiggling bodies, they are always the protagonists, the extras: fixers, escorts, actresses, secretaries, parliamentarians, animals.

There is also Sergio Morra's faithful wife, Tamara, who helps him in the management of the girls while he prepares sofficini for his children. She too immolates herself to the cause and seduces Santino Recchia, a politician close to Him.

Meanwhile, there is also "God" , with his face covered by a towel, in a sauna, waiting for a college girl and explaining that he is called that " because he knows how to forgive."

All are extras and among them is Lui's favorite, Kira who will assist Morra in renting a villa in Sardinia in front of Villa Certosa where MDMA-fed bodies will not hesitate to solicit Lui's attention.

Only after a rat has blown up a garbage truck on Rome's Via dei Fori Imperiali and only after the garbage has turned into pills falling from the sky in Sardinia.

A circle of hell right in front of the home of the real extra, He around whom all that antiquated humanity revolves, symbolized by the rhinoceros, a prehistoric animal, affected by a kind of admiration, interest, personal gain and willing to do anything for it.

And here is HE, the odalisque, trying to seduce a disenchanted and sad wife, who loves Saramago's "Blindness," perhaps because she too was affected by the virus when she met Him, still young and uncultured. She who is still there to organize her future as best she can, to be finally flattered and disgusted by the indefatigable human mask.

That mask that remains so even when it is undone because the bondage from seduction is irresistible to Him even when he has to convince his grandson that he has not stepped in poop.

Between "Apicella" and Concato, " Una Domenica Bestiale" closes the sound of the first part of THEY.

A Sorrentinian classic this film, perfectly in its chords, those that manage to magically represent "the great beauty" of human horror.

The horror of the extras of the human and their ontological moral disengagement.

The sheep, the rhinoceros, the mouse, the bodies, the appearances, the roles, the spectators, the media, the cell phones, the parties and the drugs.

All extras, THEY, THEY, indifferently plural masculine and feminine the noun THEY.

But THEY possessive pronoun agrees in gender and number with the related noun and the only invariable form is the third person plural.

Noun THEY denotes a person, place, thing or, more generally, any animate, inanimate or imagined entity.

LORO possessive pronoun serves to specify to whom the person, animal or thing indicated by the noun they replace belongs.

No title could be more chameleon-like, pervasive, wonderfully offensive.

The "indecipherable" predictability of the Italians, as the director calls it, would trigger in him "the tone of tenderness" while a cynical, understandable sarcasm recounts the grotesque boorish vulgarity of a country of extras.

THEIR animate, inanimate, imagined nouns of THEIR possessive pronouns that belong to something else....

Semblances, copies of copies, Plato would say, simulacra. Victims complacent, absent, impatient, ignorant, filthy, uncultured.

The disgust of those who do not feel their horror, of those who feel entitled to demand and take their place at the banquet of the great bulimic circus binge offered by the odalisque on duty.

The ability to make visible through an eye that knows how to observe vulgarity and immorality with a shrewd, relentless, pressing, incisive gaze.

THEY and HE are only extras, the protagonist remains the globalization of moral disengagement that relocates reason and feeling to the fate of inexorable extinction.

The Duchamp of our cinema has made the urinal Italy a perfect ready-made.

23-Jun-2023 by Beatrice