An unanticipated spontaneous exotic academic excursion adventurously unravels in sarsaparillic miniature, lighthearted yet fascinating inchoate escapades, romantically acculturated with pioneered social pause, randomly convivializing spades, hearts, haze, clubbing not focused upon although zesty quaffs do saturate several scenes, Ricardo Trogi's 1991 playfully depicting spirited leisure studies in autodidactic swoon, as Jean-Carl Boucher (Ricardo Trogi) recalls familial legends, and mischievously departs for his ancestral patria.
Could Ireland have been worked in?
Yes, definitely, and I'm puzzled as to why the Emerald Isle, in its everlasting effervescent temperate ginger majesty, was left out, although perhaps a less circuitous focus on Italy and France was more apt, even if such evocations overlooked Europe's authentic heartland.
Jean-Carl proceeds through the unknown cultural wilderness, meeting spry eclectic denizens along the way, transported by train across sundry frontiers, regionally speaking, elastically compiling histoires robust and brittle.
In search of truest love.
Studiously awaiting in Italy.
Troji's funny, clever, charmingly observant sojourn overseas presents ambassadorial serendipity in rugged improvisational catalyst.
Mom (Sandrine Bisson) and dad (Claudio Colangelo) still adorably co-ordinate conjugal theatrics, and the aforementioned legends add a touch of outlandish dynamism.
A series of imaginative encounters between Troji and love interest Marie-Ève Bernard (Juliette Gosselin) are particularly appealing, like you're magnetically transported into mock-Antonioniesque dire pragmatism.
It'd be cool to see them crafted into a feature length emulsion (just make sure it's better than Dead Men Don't Wear Plaid [which I may have been too young for when I saw it {and probably has nothing to do with Italian cinema}]).
Troji's gifts for creating cool relatable yet quirky characters are cheerfully pronounced as he showcases interpersonal invention by briskly interweaving lost, ambitious, established, curious, and defined souls.
I'd love to see him hit le Saguenay.
With some Tante Tricotante.
And a night out in Tadoussac.
*Not as good as 1987.
Showing posts with label Ricardo Trogi. Show all posts
Showing posts with label Ricardo Trogi. Show all posts
Friday, September 21, 2018
Friday, August 15, 2014
1987
Unwrinkling elaborated transformative identifiers, situated within familial, amicable, and relational pastimes, expressing frustration, fighting the system, striving to charismatically diversify, with neither recourse nor eligibility, Ricardo Trogi's 1987, operating offline yet still delivering value-added information, interrogates the injustices associated with being 17, starting-out on the bottom, while eagerly seeking amusement.
Ricardo Trogi (Jean-Carl Boucher) must confront the pressures of applying for his first loan, succeeding at his first job, to joyride, or not to joyride?, and answering questions associated with sex, all the while trying to maintain his own sense of purpose, imaginatively genuine, cast out into the real.
It's easy to relate, as you remember your own youthful application of television's guidance to the capitalistic structures faced when first entering the working world, as cruel and dismissive as they could be, eventually elevating with the passage of time.
Trogi hits a low point when his complaints cause him to lash out at his caring yet somewhat clueless father (Claudio Colangelo), who's doing his best to support him, without thoughtfully taking his point of view into consideration.
The film struggles when Trogi's friends fade into the background.
It's set-up like it will focus on their dynamics primarily, but Trogi's family and relationship woes come to occupy the forefront.
Which does lead to some entertaining sequences.
But the dynamics move from the exhilarating to the pontificating, and hilarious though the pontificating may be, especially when you're thinking about the film afterwards, it lacks the wild unrehearsed group dynamics of youth struggling to age.
Although most of the interactions Trogi has with his family and partner are wild and unrehearsed as well.
Ah, the omnipresent authorities are boldly counteracted.
From daydream to ambush.
Consequences abound.
Ricardo Trogi (Jean-Carl Boucher) must confront the pressures of applying for his first loan, succeeding at his first job, to joyride, or not to joyride?, and answering questions associated with sex, all the while trying to maintain his own sense of purpose, imaginatively genuine, cast out into the real.
It's easy to relate, as you remember your own youthful application of television's guidance to the capitalistic structures faced when first entering the working world, as cruel and dismissive as they could be, eventually elevating with the passage of time.
Trogi hits a low point when his complaints cause him to lash out at his caring yet somewhat clueless father (Claudio Colangelo), who's doing his best to support him, without thoughtfully taking his point of view into consideration.
The film struggles when Trogi's friends fade into the background.
It's set-up like it will focus on their dynamics primarily, but Trogi's family and relationship woes come to occupy the forefront.
Which does lead to some entertaining sequences.
But the dynamics move from the exhilarating to the pontificating, and hilarious though the pontificating may be, especially when you're thinking about the film afterwards, it lacks the wild unrehearsed group dynamics of youth struggling to age.
Although most of the interactions Trogi has with his family and partner are wild and unrehearsed as well.
Ah, the omnipresent authorities are boldly counteracted.
From daydream to ambush.
Consequences abound.
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