is just as mesmeric and dishevelled here in this surreal yet accessible film from esoteric Italian filmmaker Alice Rohrwacher, whose films is delighted: she finds the scruffy Englishman and his occasional linguistic blunder charming . The coven of squabbling daughters, not so patiently awaiting their inheritance, are not.
By night, though, Arthur turns to his old habits: grave-robbing. He and his gang of local misfits search for Etruscan artefacts lining tombs just below the town. It is a place of ghosts – bronze, marble – the discovery of which Arthur has a special gift for, holding his cherished dowsing stick above the ground like a truffle hound.O’Connor is terrific, reviving some of that Prince Charles broodiness but cultivating something craftier, too.
The gang sell on their finds for a paltry sum to a mysterious figure called Spartaco, who produces fake provenance documentation and sells them on to the legitimate international market. But Arthur’s ease with the fraud gradually diminishes. Can antiquities ever be legitimately owned or purchased? Can ghosts ever be found?The film is suffused with a sense of what could have been, of worlds bumping up against each other.
If this sounds frustratingly evasive, it’s not; it’s intriguingly open. A person, a language, a history is not just one thing, after all. In this strange, spirited film, all interpretations are possible if you dig deep enough.
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