The epic Italian film, which screened in Venice and Telluride over the weekend, examines one sheltered young Roman woman’s extraordinary night with two glamorous movie stars. Inside the year’s trippiest slice of Old Hollywood.
, a portrait of ‘50s Rome that contains elements of everything from Costanzo’sto the work of Federico Fellini. It smashes together Italian ingénues with global stars, gigantic set-pieces with intimate character drama, a dark vision of a historical turning point with a rollicking, unyielding narrative of self-discovery.
And he certainly goes somewhere else here. Mimosa lands the extra job over her relatively poised sister, and is thrust into a dizzying and disturbing Hollywood machine. She is paralyzed by the presence of her idol, James’s Josephine Esperanto, a diva in the mold of Joan Crawford, and her onscreen crush, Keery’s Sean Lockwood, a kind of heartthrob in waiting.
“The greatness of this film lies, as far as I’m concerned, in renewing the invitation to desire even when it's not worth it,” says Oscar-winning filmmaker. “One cannot help but imagine the future, the beautiful life, as a mythical illustration. Therefore, Costanzo’s work ceases to be a film about a bygone era and becomes a necessary hymn to the life of all of us and, above all, of the young people.
Mimosa’s night goes off the rails when James’s mercurial Josephine takes an obsessive interest in her.
“Lily is not aware of what she's doing 100%, I believe, and this is the nice thing about her because she’s not intellectual—she’s just instinctual,” Costanzo says. “You see even her leg is acting in character, even the fingernail. She’s possessed by something.”
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