The young director Michael Pastrello was noted with a handful of horror films openly or peripherally attracting the attention of many critics and gaining major awards at various festivals. To remember at least the psycho-horror In my mind and 32, in which the ecological theme is developed absolutely original.
The originality of the approach also characterizes his new job, Body Snatchers, which draws from the title of a film's most famous fantahorror ( Invasion of the Body Snatchers Don Siegel), which shows a snippet on TV, while the protagonist played by Diego Pagotto good looks. Here there is an alien threat, however, failed to depersonalize the humanity: humanity thinks itself to do so.
Umberto is a loser, resigned to a life on the margins. Lives of odd jobs, has a body care that seems futile given the situation, looks to the past - photos of family members - although it is still young and, finally, is content to cool relations with a prostitute to "comply" with its sexual functions. Then one day, a friend offered him a job in black: fix the sink drain with a guy a "fag", explains his friend as if that term was in itself sufficient to classify the individual. Umberto We prove an instinctive revulsion and refuses the offer. But in reality can not refuse: he needs money. So in the end we should encounter produces unexpected consequences for both protagonists.
While acting in a context that seems to be a horror thriller conventional - for suggestions and atmosphere - Pastrello approaches the subject in a completely unconventional. Painted with a touch dry and effective reasons for violence. View without exaggeration as the loneliness and the squalor of human relationships to generate the inability to relate to others, as if it were part of a process of desensitization of baccellizzazione to stay on the issue of Invasion of the Body Snatchers . And here, in a radical reversal of the film by Siegel, the man's body snatcher is "normal" and there is no invasion, the men - mostly - are already so, the sonbo now. Very effective is also the perception the other - in this case, the homosexual, but it could apply to other categories - as a monster: the nightmare sequence, and masterfully conducted only time classic horror film, is exemplary in this regard.
Positive is the fact that things are not schematic: there is a good study of the psychological motivations of the characters, each of which has a margin of ambiguity which prevents him from being a stereotype. Perhaps missing the final twist, narratively, to no surprise but inexorably on a path partly predictable. However, the collection represents a new and significant step forward in Pastrello, now more than ripe for a feature film.
Excellent photo Mirco Sgarzi, adapted to the different moods of the story. It is also significant to the interpretation of the actors, the fact that independent cinema is not quite usual. In particular, Felice C. Ferrara succeeds in outlining a portrait with great effectiveness sinuous and elusive a character seen as "alien" by the other party.
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