Jerzy Skolimowski


6.8 Identification Marks None (1964)
6.5 Walk Over (1965)
7.0 Barrier (1966)
6.0 Hands up (1967)
6.8 Le Depart (1967)
6.0 The Adventures of Gerard (1970)
7.5 Deep End (1971)
6.0 King, Queen, Knave (1972)
6.5 Lady Frankenstein (1976)
7.4 The Shout (1978)
6.9 Moonlighting (1982)
6.7 Success Is The Best Revenge (1984)
6.9 The Lightship (1989)
5.0 Torrents of Spring (1989)
5.0 Ferdydurke (1991)
6.0 Four Nights with Anna (2008)
7.0 Essential Killing (2010)
7.0 11 minutes (2015)
6.9 Eo (2022)
Links:

If English is your first language and you could translate my old Italian text, please contact me.
Scroll down for recent reviews in English.
Accanto a Polanski e Borowczyc la "Terza Generazione Polacca", quella che ha abbandonato il realismo socialista, annovera anche Jerzy Skolimowski, poeta e drammaturgo. Laureato in etnologia a Varsavia e in cinematografia a Lodz (1962), esordisce con due sceneggiature, per Niewinni Czarodzieje/ Innocent Sorcerers (1960) di Andrzej Wajda e Noz w Wodzie/ Knife in the Water (1962) di Roman Polanski.

I suoi primi film rappresentano la crisi esistenziale dei giovani in un mondo disumanizzato, e sono quasi-autobiografici.

Ryposis/ Identification Marks None (1964), which originated in several shorts made over the four years he spent at the film school in Lodz, follows a disaffected young man, an anti-hero and a congenital liar, during the few hours before his departure for military service. It is the first installment of the more or less autobiographical saga of Andrzej Leszczyc (played by Skolimowski himself). Skolimowski's wife Elzbieta Czyzewska plays three different characters: the frustrated wife, the sexy single woman and the dreaming student (incidentally, three stages of life). The protagonist doesn't have any "marks of identity" because he has no identity. The film is mostly composed of long takes with a mobile camera. The cinematography already shows a preference for odd angles and optical effects.

It's still dark when a young man, Andrzej, walks out of his apartment, without waking up his sleeping wife Teresa. The building's manager tells him that his dog has been bitten by an infected dog and also reminds him that rent is still unpaid. Andrzej walks into a building where a lot of young men are waiting. Andrzej is called into a room where officials of the draft board and a doctor examine him and find him fit for military service. They scold him for having "deserted": he is 24 and should have done military service five years earlier, but instead he did not report. He confesses that he enrolled in fish science only to avoid military service, but now he doesn't find any excuses and he's so eager to serve that the officer in charge suspects it's a trick. Asked if he has any "identifical marks", Andrzej replies: "None". He claims to be single with no dependents. We learn that he has been expelled from university. He is told to report the following day to military training. He walks home past an industrial junkyard. The following morning he wakes up and has an argument with his wife who is going to work. She thinks that he is going to university. The dog now has rabies, as predicted. They see and overhears two women sunbathing and gossiping on the roof above his apartment. He takes the dog to a veterinary, who has no choice but to kill the dog. On the way home, he witnesses a car accident. As the ambulance arrives, he meets his friend Mundek and walks with him to collect a debt from another friend. The trio chats at a glass counter and we see their reflection in the glass. His cynical friends, who are still single and have good jobs, make fun of his pointless studies and of him being married. Before leaving, Mundek phones a girl, Lena, that he is trying to date. Andrzej borrows money from Mundek Andrzej walks to his university to ask for a report of his studies, and the secretary mocks him for being expelled just before graduating. He begs her not to tell his wife that he was expelled and that he has been drafted, so we learn that the wife is totally unaware of both facts. He asks a fellow student, Barbara, to write a note for him: it's a note to Lena signed by Mundek, and he says it's a joke. The church bells ring noon: he only has one hour left. He pretends to be a working man, a railwayman, to the naive Barbara, and invites her to the train station. Andrzej looks for his wife Teresa at the shop where she's supposed to decorate the windows but the boss told him that Teresa said she has no husband, got her pay and took the afternoon off. He walks to Lena's place. He meets a fortune teller in the stairwell who first insists to read his future but then refuses his money because she sees bad things in his future. A man walks out of the apartment and leaves the door open for him, and Andrzej walks into the large nice apartment. Lena is bathing and doesn't recognize him but he insists that they met before. Then we only see a white wall and don't hear any sounds. She mocks Mundek and his betting business and pities Andrzej (a little confusing). Later Andrzej walks into an office, borrows the phone and phones his mother and lies about studying and working. His mother doesn't even know that he's married. On the way out he pays for a month of Spanish classes. He then walks to Mundek's place and punches him but Mundek prevails and kicks him out. Back home, he receives the visit of a war veteran who lost a leg before the war, under a tram. When his wife comes home, he yells at her demanding to know where she went and how she spent her salary. She was working in the building, but at the fifth floor and saw him talking to her boss, and she used her salary to pay overdue rent: Andrzej has no reason to be jealous and mad at her. The camera than walks in front of him down the stairs. He catches a tram on the fly and gets off at the train station just in time to catch his train. Barbara shows up but they don't have time to talk.

Walkower/ Walk Over (1965) is the second installment of the saga, and adds touches of surrealistic humor to his social realism. It's a much more disjointed and confused film, and quite frustrating at times. The protagonist is now almost 30 and has become cynical.

The film opens with Barbara staring melancholic at a train. She then apparently throws herself under a train. This time Andrzej's train is actually arriving, not departing. He calls a blonde "Barbara" and she recognizes him. In fact, she immediately invites him to follow her to a factory, while curious onlookers pity the girl who died. Andrzej doesn't seem to know the name of the blonde: it's actually Teresa. Andrzej carries a transistor radio and hears himself reciting verses of poems (but only he hears it). They hitch a ride to the factory where she has a meeting. He follows her. We learn that it's the eve of his 30th birthday and that he failed the final examination to become an engineer. (So it's been six years since he left for military service). Teresa represents the polytechnic's scientific opinion on the project to build a factory and is assigned an apartment in the factory. Andrzej cannot get a job there because he didn't get his diploma. He loses Teresa in the factory and passes by a boxing ring where a coach, Rogala, invites him to become a boxer. Teresa has a heated argument with the engineers who warn about potential danger in the chemicals at the factory. She keeps repeating that, according to statistics, an incident is unlikely to happen. Andrzej rejoins her. He is approached by a priest who insists on confessing him. Teresa tells Andrzej that the priest is only a madman who believes to be a priest. Andrzej and Teresa need a ride to return to town and Andrzej flags a nice car down pretending to be an inspector. Andrzej and Teresa are having a drink when suddenly a man in suit and tie, Miecio, sits at their table lamenting his miserable life and tries to sell them watches. A car accident distracts most customers of the cafe' but not Miecio. Andrzej leaves Teresa and runs away without saying a word. He sells his transistor radio to a shopkeeper who wants to negotiate (Andrzej would sell it for the first offer but the shopkeeper insists on negotiating and ends up paying a lot more). While running, Andrzej passed by the car accident and dropped a watch. He is detained by a puzzled police officer who also finds more watches in his pockets. He explains that he won the watches at card games. He returns to Teresa. They decide to catch a train and walk towards the train station. He mentions that ten years earlier he was expelled from the polytechnic. He says that she was 17 at the time. She remembers him as a rebel student. On the way to her apartment, an artist improvises silhouettes of them for a few pennies. Then they stop to get postcard recordings (she records something for him, he records something for her). Andrzej tells Teresa that he started boxing while in the military and winning on the ring is the only thing who gave him happiness. He tells her that he signed up for one more match. She goes to watch the match. Andrzej is knocked down and dreams of Barbara. Then regains consciousness and goes on to win. He now has to fight in the final but tells Rogala he won't. Andrzej and Teresa go to the train station to catch a train. While waiting, they are approached by a man (Miecio?) who lets people throw eggs at his face for a little money. Then someone (that we don't see) approaches Andrzej with a photo of Barbara. Andrzej and Teresa return to her apartment. They argue (we learn that she is the one who caused his expulsion and that she was educated in a convent) while on the wall we see the projection of footage about some tragic event. Then friends walk in and a sexy girl flirts with Andrzej. And then he wakes up in bed with Teresa, both naked. Teresa talks about marriage. They finally take the train, abandoning the final. A boxer sees him leaving, steals a motorbike and chases the train, shouting at Andrzej that he's a coward. Andrzej initially ignores him but then jumps off the train and returns to the boxing ring. His opponent doesn't show up and Andrzej is declared the winner without fighting. The opponent meets him later alone and tells him that he let him win on purpose. Andrzej punches him in the face, the opponent punches him harder. It's Andrzej's birthday.

The poetic and romantic Bariera/ Barrier (1966), the third installment of the saga (although this time the protagonist is unnamed and played by a different actor), completely abandoned social realism for grotesque surrealistic imagery and allegory, all enhanced with a jazz soundtrack by Krzysztof Komeda. The instability of the previous film has turned into chaotic narrative but also into intense atmosphere.

The film opens with a man whose hands have been tied in the back and we only see him fall forward, without seeing his face. Then we see another one going through the same procedure. Then we see their faces, one by one, as they recite monologues about their frustrated life. They are medical students and are playing a game that will decide who gets the money that they jointly collected to pay for tuitions, stored in a piggy bank. Three of the four pledge to divide the sum among themselves, but the fourth one doesn't, and he's the one who wins the game. He visits his elderly father who lives in a nursing home to tell him that he is about to get married, but his father is only interested in writing a letter. We see him climbing the wall of a building, passing by dead chickens. He leaves the university in a fog, carrying a large suitcase that contains the piggy bank, running along hundreds of other men of various ages. He sees his father moving away on his tricycle. He delivers the letter to a woman, and realizes it's a gift from his father: the woman has to pay a sum and instead she gives him a sword, while they hear screams from the dentist office next door. He takes a bath and a little girl comes to watch him. One night he meets a girl in a street in front of a sign lit with candles. It's the eve of Easter. She is a tram driver. He takes her tram and asks her to join him at a party that he is throwing and explains that the whole getting married thing is a joke. He wants her to show up as his fiance' to prove that the engagement is real. He is the only customer at the restaurant. Waiters and musicians sit bored in the back, although the master of ceremony continue speaking in the microphone of an exciting evening. He eventually convinces a janitor who is washing the floor to sing a song as if she were a pop star. The girl finally arrives, carrying the student's gigantic suitcase. In the suitcase is the piggy bank he has to pay for the dinner. They are interrupted by a madman who hands them newspapers with the story of his life. They use the newspapers to make themselves hats. She tells him that his friends are coming to beat him up. Two friends arrive and the student pretends that she's his fiance'. The couple dances. There is nobody else in the restaurant. He laments that they won't have time to fall in love with each other. Suddenly hundreds of men all dressed in suite and tie, and wearing a newspaper as a hat, walk in. They are all men except the lady who sold the sword. One of them demonstrates how good the sword is and the lady offers to buy back the sword for a lot of money but he refuses. They all dance a dance that consists in simply jumping up and down. One man looks upset as he walks towards the table of the student and the tram driver. She tells the student that he's her husband, a war veteran. All the men, still wearing the funny hats, intone patriotic war songs. Now there are lots of women, sitting alone at the tables. A waiter serves champagne and the piggy bank, which the student cuts in half with the sword. The newspaper man dies of a heart attack and is taken away in an ambulance. She is very distraught. Later, they climb a lot of stairs to reach the roof of a high-rise building from which they can see his dormitory. He is still carrying his sword and his suitcase. Then we see them on top of a sort of a tower. The student, wearing a carton mask on his head and holding his suitcase and the sword, lets himself slide down the tower and rolls down uncontrollably, but survives. Then he walks into a car and turns on the windshields, whose rhythm leads the soundtrack into a baroque dance. He lights the one cigarette that he has saved and refused to give to anyone else, and hears the sound of an explosion. He walks outside the garage and enters a nursery full of flowers. The white petals of the flowers mix with the snow as he falls down. Then we see the girl walking under the rails of the tram. to talk to her boss about taking a day off, but it's Easter and they are short on personnel, and nobody wants to switch with her. She lies down on giant letters that read "dead". She is taken to the hospital but she is not dead: the doctor wakes her up and he's the man whom she called her husband, but he's not. She says she said it only because she was angry at the student, who is getting married. After pretending to examine her, he gives her a sick leave so she doesn't have to go to work, but she tears it up. She leaves carrying the giant letter "E" on which she had lain dead and puts it back where it was. She gets on the tram and starts driving. At the end of the line a blind man asks for her help, but he turns out not to be blind at all. She kicks him and he explodes like a bomb. She drives her tram till sunset. She gets off and starts driving with everybody else, a scene reminiscent of the scene with the student running in a crowd. They all stop for a second as two nurses are carrying away a dead man in a stretcher (the doctor? the student?) She finds herself on a stage. The host tells the audience that she's looking for her love, but she doesn't even know his name. The audience laughs. Then we see her driving her tram again... and he appears on the windshield. He falls. She tells him to get up and smiles.

Tutti più o meno autobiografici (il regista ha soltanto 28 anni all'epoca del terzo), questi film sono girati alla Godard con estrema libertà di stile ed incisiva immediatezza.

Rece do Gory/ Hands up (1967), released only in 1981, and then reassembled in 1985 in a shorter form, was another film with Skolimowski playing his alter ego Andrzej Leszczyc, the third part of the Andrzej trilogy, but little is left of the original.

Dopo aver lasciato la Polonia gira Le Depart (1967), in Belgium in French, with Godard's cameraman Willy Kurant (and the two actors of Godard's Masculin-Feminin), ironica storia di un parrucchiere per signora che sogna di diventare pilota di auto sportive, ma che proprio alla vigilia di una gara importante scopre il sesso.

Ancora più umoristico è The Adventures of Gerard (1970), farsesca parodia del cinema avventuroso e dello humour nero (based on Arthur Conan Doyle's stories, the first of his literary adaptations).

A Londra gira the English-language Deep End (1971), filmed in Germany with British actors, un film di conturbante tensione fantastica e di seducente eleganza figurativa.

I protagonisti sono due giovanissimi (lei ventenne, lui quindicenne), inservienti nei bagni pubblici di un sudicio quartiere londinese dove sono a quotidiano contatto con le più volgari scorrerie; lui è imberbe e timoroso, lei si è ormai adattata all'ambiente, ha diversi amanti, è spregiudicata e maliziosa; gode nell'affidargli incarichi imbarazzanti, e ancor più quando lui si innamora trepidamente lei. La vigilia delle nozze con un maestro di nuoto, lei perde l'anello; l'adolescente la aiuta a ritrovarlo, ma vuole in cambio il suo corpo; lei accondiscende, ma poi l'amore trascende il litigio e involontariamente lui la ammazza. Gli echi del free-cinema inglese (nell'ambientazione squallida e deprimente) e del neo-realismo magico nell'approccio poetico-fiabesco passano in second'ordine rispetto all'introspezione psicologica, che dal conflitto fra la purezza di lui e il vizio di lei sa trarre poesia e comicità.

Dopo alcuni film minori fra cui una trasposizione di King, Queen, Knave (1972) da Nabokov, e Lady Frankenstein (1976), satori del suo humour nero, Skolimowski gira The Shout (1978), an adaptation of Robert Graves's story, photographed by Mike Molloy, with a soundtrack by Tony Banks and Mike Rutherford of prog-rock band Genesis, his most surrealist film.

Un uomo si aggira per le dune di sabbia.
Un donna (Rachel) lascia un uomo (suo marito Anthony) davanti a una villa. Il giovane Robert arriva alla stessa villa e incontra una donna paranoica. Alcuni uomini stanno giocando a cricket. Un personaggio esterno al gruppo racconta a Robert la storia di uno dei giocatori, Anthony.
Un uomo si aggira per le dune di sabbia... una coppia si risveglia spaventata. La donna, Rachel (la stessa dell'inizio), pensa di aver sognato il misterioso vagabondo. Vivono in una casa li` vicino, isolata dal villaggio. Il marito, Anthony (lo stesso dell'inizio), e` un musicista elettronico che a casa produce suoni concreti amplificati selvaggiamente. Arriva in ritardo in chiesa, dove la domenica suona l'organo. In chiesa una ragazza gli sorride. Fuori qualcuno gli sgonfia le ruote della bicicletta. Al termine della messa un matto tenta di imbastire una conversazione teologica, ma Anthony lo evita. Gonfia le ruote, prende la ragazza e se ne vanno in bicicletta. La moglie lo attende a casa, spiata da qualcuno. E` lo stesso matto, che si fa invitare a pranzo. Rivela loro di essere vissuto fra gli aborigeni dell'Australia. Ha la mania di far suonare i bicchieri sfregandone il rim. Racconta le pratiche dei maghi e confessa di aver ucciso i propri bambini, come consentito in quelle tribu`. Poi si installa in camera da letto a meditare. Racconta ad Anthony di aver appreso da uno stregone una tecnica di urlo che puo` uccidere un uomo e di aver passato 18 anni a perfezionarla. Gli racconta come lo stregone fece piovere squartando una vittima all'addome... e gli fa vedere di avere una tale cicatrice all'addome. Anthony, musicista di professione, e` curioso di sentire l'urlo magico, anche se l'ospite lo avverte che ne potrebbe morire. Lo tratta con disprezzo e arroganza. Il mattino dopo i due uomini si recano sulle dune dove nessuno li puo` sentire. Anthony si tappa le orecchie e il vagabondo emette l'urlo: le pecore cadono morte e Anthony sviene. Anthony non si accorge che fra le pecore giace anche il cadavere del pastore.
Anthony vorrebbe che l'ospite se ne andasse, ma lui si conquista le grazie di Rachel.
Tornati al presente, ci rendiamo conto che il vagabondo e` colui che racconta a Robert mentre Anthony sta giocando a cricket.
La donna e` morbosamente attratta al vagabondo. Con una scusa manda Anthony al villaggio e poi si avventa letteralmente sull'ospite.
Al villaggio Anthony incontra un amico che ha sentito l'urlo e ne e` stato terrorizzato. Anthony si reca in chiesa a pregare.
Un altro ritorno al presente svela che la villa e` in realta` un ospedale mentale. I giocatori di cricket sono i pazienti. Rachel aveva portato il marito in ospedale psichiatrico. Il vagabondo continua il racconto a Robert.
Il sacerdote viene a chiedere ad Anthony di partecipare al servizio funebre per il pastore morto, e Anthony apprende cosi` che mori` proprio la mattina dell'urlo. Anthony sorprende la moglie che bacia la mano del vagabondo come un cagnolino. Gli comunica freddamente che intende dormire con sua moglie e gli intima di andarsene o lo uccidera` con l'urlo. Anthony corre sulle dune a cercare il sasso magico. A casa sua il vagabondo ha paura di qualcuno che gli sta dando la caccia. Anthony trova il sasso magico e lo percuote: il vagabondo si accascoa. La polizia irrompe in casa e arresta il vagabondo per l'omicidio dei suoi bambini. Il vagabondo emette l'urlo per ucciderli, ma Anthony riesce a spezzare la pietra e ha farlo crollare. La polizia porta via il vagabondo.
Il racconto di quello che e` rivelato essere un pazzo (e che quindi non si sa se sia vero) si conclude durante un violento temporale: i matti danno in escandescenze e gli infermieri tentano di ricondurli alle loro camere, ma il vagabondo oppone resistenza. Il pazzo esplode il suo grido, che si confonde di boati del tuono, e sul terreno restano dei morti (ma fulminati o assordati?). Robert aveva creduto al potere dell'urlo e si e` buttato un secondo prima di essere colpito dal fulmine. Il vagabondo e` morto e Rachel accorre a visitare la salma. E` la scena con cui era iniziato il film.
Molti temi si sovrappongono a quello "frontale" dell'ambiguita` (il pazzo e` stato davvero in Australia? il suo urlo e` davvero omicida? oppure i due si sono conosciuti in ospedale e il racconto e` totalmente inventato?) Tutto il film gioca sull'ambiguità (quasi hitchcockiana) di non sapere mai se è realtà e finzione. Uno e` quello dell'ipocrisia borghese: la coppia sembra un modello di serenita`, invece lui e` un marito infedele e lei una moglie frustrata e ninfomane. Un altro e` l'impotenza della tecnologia moderna davanti ai miti ancestrali: l'uomo razionale (musicista elettronico) tenta invano di esorcizzare il demone, che finira` invece per distruggere la sua esistenza.

Skolimowski, etnologo, si immerge negli abissi neri dell'anima, fra sortilegi infernali e credenze arcaiche, forze ancestrali e superstizioni letali. L'"urlo", nel panorama civile e razionale di una coppia borghese, ha un chiaro significato metaforico di elemento di crisi: gli indistruttibili valori di natura travalicano e annientano tutte le convenzioni e le ipocrisie, segnale di riconoscimento per la più intima essenza umana. Il film è un viaggio dentro l'inconscio di uno dei protagonisti ed è al tempo stesso una parabola sull'abbandono dello stato di natura.

Moonlighting (1982), his most commercially successful film, è ironico e più legato all'attualità.

Un ricco polacco fiuta la crisi nell'aria e si compra un appartamento a Londra, che poi fa completare da quattro muratori mandati apposta da Varsavia. Questi quattro uomini sono perciò all'estero quando il generale prende il potere in Polonia, e soltanto uno di loro che conosce l'inglese, sa dell'accaduto, ma decide di tacere. I rapporti tra di loro si incrinano, i soldi vengono a mancare e gli involontari esuli devono procurarsi da mangiare rubando nei supermercati. Infine fanno ritorno in patria senza uno zloty.

Success Is The Best Revenge (1984) è più didascalico e meno caustico, afflitto dalla nostalgia dell'esule.

The lavish historical costume drama Torrents of Spring (1989) is an adaptation of Ivan Turgenev's 1872 novella, an international project filmed in Czechoslovakia, involving an Italian producer and a German actress (Nastassja Kinski).

The Lightship (1989), another literary adaptation, from Siegfried Lenz's novella "Das Feuerschiff/ The Lightship", set entirely on a coastguard ship, mostly at night and during a storm, filmed in the North Sea of Germany with an international cast (including Austrian actor Klaus Maria Brandauer) and a US crew, is a tense psychological kammerspiel, a mind game between the captain of a ship and the criminal who hijacks it, and also a study of heroism.

After Ferdydurke/ 30 Door Key (1991), an adaptation of Witold Gombrowicz's novel, Skolimowski went silent for more than a decade. He returned with Cztery Noce z Anna/ Four Nights with Anna (2008), a study of loneliness co-written with Ewa Piaskowska.

Essential Killing (2010), starring Vincent Gallo and co-written again with Ewa Piaskowska, is a political thriller about an Afghan prisoner who escapes from a secret prison and hides in the wilderness.

11 Minutes (2015) is visually compelling but its mosaic of micro-stories (spanning the same 11-minute period) is not powerful until the last five minutes. It is a thriller of sorts because the viewer senses that these stories will eventually converge and is kept waiting for that moment just as if it were a puzzle, a "whodunit", except in this case we know who has done it (destiny) but we don't know "what" has been done because it still hasn't happened. Out of its narrative labyrinth one can extract only one pessimistic metaphor: that life is meaningless, that we are powerless to control our future and that we cannot know what is about to happen to our lives. It is an apocalyptic vision of a humanity with no free will. It is a film of existential anxiety: all the characters live tormented lives, and at the end the viewer has joined them, unable to answer the question "What is there to life?" A secondary metaphor has to do with all the cameras shown in the movie: we are being constantly surveilled.

The first few scenes are shown in a small screen within the screen as if taken from a phone, a laptop camera, a surveillance camera, etc. A man and a woman are having sex. A man yells at his attorney because his wife wants a divorce. A split black and white screen shows a convict in a jail who is waiting to sign the release log. A young woman takes the police into her old apartment. A kid leaves a last message to his mother before going out. Each lasts only a few seconds. Then the real film begins in full screen. It is 5pm and the story lasts only a few minutes, despite the multiple stories. A producer who has taken a room in a luxury hotel unplugs all the devices in the room including the telephone. A hotel boy sets up the room and then a sexy girl comes to visit while he is pretending to be on the phone speaking with someone about a new movie. His name is Dick and hers is Anja. A man with a wounded eye wakes up in a hurry, dresses up frantically and runs out of the house calling someone who doesn't pick up. His name is Hellman and walks into the hotel asking to see the producer that his wife is visiting (or, better, he needs to tell his wife that they drank a drugged wine). They tell him that the producer is busy and he walks outside passing in front of a hot dog seller who is making hot dogs for nuns. The hot-dog seller seems to be a gentle kind man. A young girl is watching the scene. When the nuns leave, she mocks the street vendors calling him professor and we learn that he has just been let out of jail, and she spits in his face. The noise of a plane cracks a mirror. A man brings a dog to the young woman we've seen with the police. She is sitting on a park bench. We learn that she tries to commit suicide and in the process set fire to their apartment. He doesn't want to see her ever again. Another woman arrives at an apartment where a man is in bed waiting for her. She apologized that she is late because she missed the bus. Dick openly openly tells Anja that he has heard she is great at sex and easy to seduce, and he clearly wants to have sex with her; but she tells him that she got married just the day before. He husband Hellman, the man with a wounded eye, has found a way to get inside and is taking the elevator to their floor. A man is sniffing cocaine and having sex with a naked woman, but they have stop abruptly because the owner is arriving. She is the wife, and he pretends to be a delivery boy. Then he rides away on his motorcycle. The girl with the dog buys a hot dog and chats with the nice man. The staff of an ambulance is called to a decrepit tenement and tries to break into an apartment. The producer is still trying to seduce the sexy girl and filming the whole scene with a camcorder. The police are chasing the motorcyclist who is zigzagging through traffic. Hellman is still in front of the producer's door, undecided what to do. The ambulance men have to fight a half-naked man until they sedate him in order to enter the apartment. The man and the woman who was late are in bed watching a porno video. The delivery boy arrives late at the hotel. The hot-dog man calls this kid on the cell phone (he is his son) and leaves a message for him. The suicide girl comes to buy a hot dog. The ambulance paramedics enters the apartment and find a man who is dying and a woman who is giving birth and take the children away. A film crew films a scene in which a man jumps into the river from a bridge. There is an old painter by the river who watches the scene indifferent. A security camera shows the scene. A young man shouts "robbery" inside a deserted building: there's only a man who hanged himself in the bathroom with the tie. The robbery boy calls angry someone who told him to do it. A white dove flies into the apartment where the couple is watching the porno video. They are planning a mountain trip and taking a porno actor with them and she doesn't like it. He leaves the apartment from the balcony, not the front door: he is a construction worker on scaffolding, several storeys high. The painter walks into the building from which the robbery boy is running out. They both take the same bus. The producer Dick is playing a psychological game with the easy sexy girl, filming her all the time. The hot-dog seller drags his cart to the entrance of the hotel, where he is supposed to meet with his son, the motorcyclist. His son the delivery boy is on drugs and has hallucinations in the elevator. Hellman, the man with a wounded eye, is still pacing nervously in the corridor. The hot-dog seller calls his son on the cell phone. Someone alerts the security staff of the hotel of Hellman's strange behavior. The delivery boy is back on his motorcycle and finally picks up the cell phone to tell his dad that he's almost at the hotel. The motorcyclist meets his dad the hot-dog-seller in front of the hotel when the girl with the dog is also passing by. Father and son tie the cart to the motorcycle. The producer is still playing his cruel psychological game with the sexy girl who faints. The construction worker watches from high above the street as his girlfriend takes the same bus where the painter and the robbery boy are riding (the robbery boy tries to get out but he is too slow). Hellman finally knocks at the door of the producer. Then grabs a fire extinguisher and breaks into the room. Alas, he slips on the liquid and accidentally pushes the producer our of the window while the producer was helping Hellman's fainted wife Anja. The producer falls out of the window and Hellman can barely grab a hand of his wife and hold her from falling to her death. The producer falls on the construction worker and demolishes his scaffolding, therefore dragging the man down with him. The girl with the dog watches from the street. The ambulance is just passing by. The motorcyclist hits the ambulance that hits the bus that causes an explosion. The security guards of the hotel enter the hotel room and grab Hellman but this causes Hellman to lose his wife's hand, who falls to her death. The security camera shows all the scenes happening at the same time, and then more and more scenes appear, and within a few seconds the screen has become a blinking mosaic of black and white dots.

Eo (2022) is an eccentric remake of Robert Bressonís Au Hasard Balthazar.

(Copyright © 2015 Piero Scaruffi | Terms of use )