Shadows on the Wall | The Echo Chamber

The Echo Chamber

dir Andrea Pallaoro
scr Bernardo Bertolucci, Ilaria Bernardini, Ludovica Rampoldi
prd Carlotta Calori, Francesca Cima, Nicola Giuliano, Viola Prestieri
with Luca Marinelli, Alicia Vikander, Susan Sarandon, Ann Akinjirin, Peter Coonan, Antonia Fotaras, Aomi Muyock
release It 10.Sep.26
26/Italy Rai 2h03

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Eight years after the death of master filmmaker Bernardo Bertolucci, his final screenplay has been made into a film. Director Andrea Pallaoro fully immerses the audience in this exploration of dependence and absence, as three characters swirl around each other in a fractured narrative. Much of it is darkly moving, even if many of the scenes feel rather random and meandering. And where it goes is painfully bleak.

In London, Anne (Vikander) calls the paramedics after her boyfriend Leo (Marinelli) falls unconscious due to opioid addiction. A gifted record producer, Leo returns home in isolation after rehab, unable to contact Anne. But she sneaks into his flat when he's out, simply to share space, tastes and smells. Both recall meeting when Leo needed a doctor to help with chronic back pain, and she prescribed severe pain meds. Meanwhile, Leo is working on a new album with veteran singer Ava (Sarandon), suggesting that she re-record an old hit that was Anne's childhood favourite.

Because scenes are edited out of sequence, snaky interconnections weave them together thematically. On-screen clues make it clear when each event takes place, but it's the overriding sentiment that takes over as we watch Leo and Anne fall in love and become completely reliant on each other before his collapse. Now both long for a reunion, even though they know it isn't wise. The problem is that this is a long two hours of disconnected moments, some of which don't add much to the discussion.

All three actors deliver textured performances that layer mixed emotions into their interaction, which is often silent or separated by time or distance. Marinelli brings his charisma to bear on the likeable Leo, so we have no doubt that he will get himself back on track. And we hope he can work out how to be with Anne too. Aside from flashbacks, Vikander's role mainly consists of quietly longing, but she finds lovely edges there. And Sarandon has a terrific knowing presence as the gorgeously gravel-voiced singer.

Set completely within Leo's London flat, the film has an almost dreamy feel to it, as Diego Garcia's cinematography continually uses glass and mirrors to add offbeat angles, so it sometimes seems as if these people are ghosts haunting this space. Indeed, their intense feelings are lingering here, and it's this magnetic bond between them that makes the film mesmerising to watch. Even if it feels like it sometimes literally loses track of the plot.

themes, language, sexuality 28.Aug.26

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