The wild west appears beside the blind-free continental plains and mountains of “Head or Tail?”, a delightful European European European European giant respecting the style and structural tradition of this style, and completely occupying its personal reality. The second feature of Italian director duo Alessio Rigo de Righi and Matteo Zoppis includes a rogue Outlaw Cowboy, a guts, a pistol-killed widow and Buffalo Invoice Cody himself – radiating in northern Italy appropriately placed in northern Italy, all in different places. But when these sound like common substances from old-fashioned oaters, or maybe Leonian spaghetti joints They're like that Commodities are overdrawn for eccentric people, even more than thorough surrealism.
It's one of many extra godly champions in the 12-month Cannes competition, which premiered in an uncertain range, “Head or Tail?” is already fun to play more loose and looser than De Righi and Zoppis' 2021 cult match, hitting “The King's Crab Story”, which is already interesting. The film is an elegant country fable that relies on the couple’s documentary background as it collects regional knowledge and transforms it into a peculiar film novel. Their follow-up retains the fluffy, variable nature of the folk story telling, all the way to a framework system that presents the occasion indicated by the cody, which Cody decides for the tenacious private secretary. Just as John C. Reilly, the barbarian.
American Idol took off from his house border and visited his famous travel rodeo circus (European Rodeo circus around Europe (participated itself, from spaghetti-Western customs), which is relatively similar to the American desert in the twentieth century. This story is stimulated by real-life events when Cody’s men are challenged by a group of Italians butter To a kind of cowboy showdown – easy to get Alpha in the latter aspect Buttermilk Augusto Imperioli became the hero of the neighborhood.
In the movie's occasion mode, Imperioli becomes Santino (“Eight Mountains” star Alessandro Borghi), a shaky and nice-looking and dumb rocker who won the game-winning the game and winning a dissatisfied payment, a beneficial payment that once played Italian noblemain Rupè (Mirko Artuso), Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Who Whawager the House severes code the House Sepseps fivail the House Severs code. During the same time, Santino captures the wandering of Rupè's young spouse, Rosa (rising French star Nadia Tereszkiewicz), who desperately needs her abusive trophy marriage. Later, a close-range bullet, Rupe is useless, while Rosa and Santino escape to the wilderness, having great value to the head of the victory rider, while Cody is opportunistically turning to the bounty hunter, not that popular.
It's here that the film's curiosity about legend building plays a role in the narrative, as Santino embraces his sudden new position as he is a lawless and mature warrior, all in order to violate the laws that he can't actually declare dedication. In a movie, he boasts about his musical sequence as an over-high level in a movie that repeatedly weaves music into hanging stories, emphasized by Stark, the naive excitement and critical vittorio Giampietro – the process of challenging his individuals and his personal heritability. (Reilly, by no means unwilling to speak out his musical fragments, also contributes unique work.) Rosa bravely shows the greatest praise in this fulfilling, self-theological conflict of male conceit. so.
Reilly enters intriguedly as Cody’s brag as a cod, which will essentially be the most gorgeous scenery, and this is Tereszkiewicz and Borghi, who have most of the movies as out-of-control lovers will surely be bigger than dead, deadly, Whimly Whim. Everyone looked at the archetype of their own styles—Borghi, especially his sky blue wrinkles and sandy stubble, gave birth to at least an Italian horse opera in his profession—and their performances undermined those expectations from the inside. Borghi's cowboy is all the foam and withered determination, and Tereszkiewicz shows Rosa's performance in suffering, neither the painful dame nor the teenage girl: as another alternative, she is meticulously guarded and photographed with horrible precision even when taking pictures.
Rosa's quiet nerves make her taller than different characters, a closing ceremony with no boundaries, the bill transfers the register from people's stories to adult fairy tales, during which common norms of life, death and cause do not apply. This transformation into an additional fantastic terrain leaves the thin human dynamics of Western history far behind and will split the audience.
But “head or tail?” takes it off, in large part due to the cruelty of its story world, the sunny textures that keep vivid and constant. DP Simone d'Arcangelo takes photos in the movie completely, commemorating every faint wonder, a real panoramic view of the film and the continental mix of the soil severity of the Leon land, which impresses de Righi and Zoppis, and can even bring you a faint, full western grandeur, and even many real people to achieve any real range.
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