Samantha Andretti (Valentina Bellè) was kidnapped 15 years ago. And now she’s been found by the side of a lonely road with a broken leg. Beside him is Dr. Green (Dustin Hoffman), who asks him a series of questions in an attempt to profile the kidnapper. At the same time, private detective Bruno Genko (Toni Servillo) has been diagnosed with heart disease and his days are numbered, so he decides to devote his last days of life to trying to solve one of his old cases: the kidnapping of the young Samantha. With two separate methods, the two seek to find the criminal, but which will find the truth first?
Inspired by the underground circles of “The Divine Comedy”, by writer Dante Alighieri, “The Labyrinth” has a very striking plasticity in each of its cores, and this characteristic is immediately visible to the viewer. Scenarios centered on women other than the protagonist have red walls, referring to lust; the missing persons department is a moss green color that contrasts with the background photo of the victims; the house where Genko is going to interrogate a lady is surrounded by flames of fire, a consequence of the fires in Italy, which faces a terrible heatwave; even the prison maze, as Samantha herself says, is gray, dark and stuffy. In rounded formats, these sets help give the film an infernal and confined atmosphere and corroborate the director’s inspiration.
Donato Carrisi’s screenplay, inspired by his own book, draws two parallel stories to immerse the viewer in the psychological thriller of memories of the protagonist’s confinement, accompanied by the detective’s hunt for the bizarre kidnapper, who dresses up like a rabbit and hides in the bush. The villain’s disgusting background is set up in a very appealing way to the viewer, so that, as reprehensible as it is, we feel like wanting to know more about him, to see him on stage with that creepy mask on. In a ‘Saws’ style, ‘O Labyrinth’ creates a sense of dread and fascination for this grotesque figure.
The same Donato Carrisi is responsible for directing the feature film, and he does it quite well, although the protagonist’s core is more like a play, with recorded scenes released to then be inserted into the detective’s parallel core, which occupies most of the plot. It makes Dustin Hoffman seem a bit superficial on paper, literally stepping in every time the story comes back to the medical center where he is conducting the interview. It’s shocking, but it doesn’t hurt the project.
Mainly spoken in Italian, “The Labyrinth” is a very intense psychological thriller that grabs the viewer from start to finish. With a quirky, interesting villain and a thought-provoking storyline, it’s a great choice for those who enjoy movies where you’re asked to join pieces of one puzzle inside another, because it is the psychological game that the film offers. , which arrives this week in Brazilian cinemas.
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