Talking about Bad Luck Banging Or Loony Porn in a review is not easy at all, also because Radu Jude, its director, wanted to weave the film with a whole series of speeches that giocano with the cinematographic medium itself, and with what could or should be yours role nowadays. The result is an extremely varied but decisive work incisive from beginning to end, which tests not only the medium itself, but also and above all the viewer who finds himself enveloped by images and messages. The choice authorial, in this case, it makes itself felt from the very first opening images in a flight that not only touches madness, but cuts it in two to show what's inside, to show the deformities under the clothes and the skin and the daily live. Presented to Berlin Film Festival of 2021 and winner ofGolden Bear for Best Film, will be available from 16th April only on the site MioCinema.
A story that seems familiar
Bad Luck Banging Or Loony Porn is about ateacher that from a certain point in her life she becomes involved in one scandal personal. Someone posted a video which explicitly portrays her in bed with her husband, and all this has had strong repercussions on every single aspect of her life. The film, however, is not limited only to dealing with this specific story; in reality the narrative is divided into three parts well distinct. The first and third revolve around the aforementioned protagonist, while in the second the director builds, through a long mounting which develops for images and video, a direct conversation with the viewer himself, in which he takes a few seconds for himself, to expose some events of our present time, of our humanity, also putting into play what should and could be the role of cinema same. In reality this speech envelops the entire film, but in the middle part it does more evident and incisive than ever.
One of the features that immediately catches the eye of this Bad Luck Banging Or Loony Porn is the way where it has been turned, and above all the historical period in which set. The story, in fact, takes place in our days speaking precisely of this precise period, and the choice to build it in the present of Covid-19 gives a value added to the thickness of what is being treated. Here is the urban streets in which we see walking Emi (this is the name of the protagonist) become the theater of all the issues and psychological pathologies of a historical moment in which nothing can be given for certain or certain anymore. Everyone wears the mask and everyone is attentive to the safety distance, and when this does not happen someone intervenes, even in vain, promptly.
This gives the director the opportunity to talk about something else, to transform the camera itself into a eye which not only looks at the narrative but also at the world that surrounds the events taking place, lingering on the quarrels of passers-by, on the speeches in the shops, on the markets, on the general nervousness, on the dilapidated houses, on the oppressive advertisements along the walls, demonstrating a certain type of sensibility which inevitably leads to think of something else, embellishing the writing itself at the base through the images. A set of footage in Outdoor which therefore involve the viewer in the first person. This at least until you get to all'final act, an act that focuses on the narrative, pressing even more on all those particular issues that a story like this can inspire and that it must face. Cinema, therefore, like discussion, as merciless criticism of a reality that should be surpassed and surpassed.
The theme and relationship with sex in Bad Luck Banging Or Loony Porn
One of the central themes that one cannot fail to mention in a Bad Luck Banging Or Loony Porn review is that of sex, And relationship that modern / contemporary society has built with this. The private life of the protagonist, with the publication of the aforementioned video, is practically put on the streets without any hesitation, and the next reacts accordingly. The dynamic that comes out most bitterly, however, is the one that portrays themodern man in contact with such a situation, in contact with the private sexual truth of a person who immediately finds himself being judged. Here is that the contrast between sex, the consenting physical relationship and the bigoted morality and the bourgeois of the neighbor immediately come into contact in a discussion that involves not only this woman, but also all of us, all those human beings who in 2021 fail to accept such a natural theme by raising thematic barriers that result small change at the root. The film therefore presses a lot on this thing, on the fact that every human being is free to express their sexuality in their own private dimension, without necessarily having to deal with the point of view of others.
Starting from all this, the director sets up one reflection, always on light shades but in any case devoid of filters, which passes from mouth to mouth between the various characters, even touching other very important themes, which curiously approach or are approached to that of sex. Ultimately, the fresco that comes out is that of one bigoted society which is unable to handle a very natural physical expression, entangling it in a whole series of superstructures that limit humanity itself in small, empty and superficial moral styles. In the pillory there is not so much this teacher in Bad Luck Banging Or Loony Porn, unjustly forced to have to justify what she lives in her intimate and private, but all of us that like her, perhaps, we live or have experienced the exact same things in our private life, with the only difference that others have not seen us do them. Starting from all this, the film begins to slide down a slope, collapsing on the fundamental pieces of one contemporary bourgeoisie who never really stops to think about things, limiting himself to point the finger judging others, all with the support of the major moral, military, television and pedagogical institutions.
With Bad Luck Banging Or Loony Porn you find yourself in front of a work that wants hit the viewer not only through the story around which the narration is centralized, but also through one hand direction that cuts and hurts where it can and when it can, in asurvey also quite cruel and extremely direct in some points, capable of desecrating not what the viewer sees, but what the viewer thinks and might think. A use of the cinematographic medium that in 2021 remains fundamental and towards which other contemporary directors should take into account for their own works and for what will be their speeches and reflections.
