(2019) Art (Tropical Grey) Carrie Getman, Tomas Spencer, Christian Serritiello, Daniel Brunet, Jade Willis, Simone Spinazze, Joulia Strauss, Arthur Patching, John Keogh, Melissa Holroyd, Julie Trappett, Myra Eetgerink, Ben Posener, Seumas F. Sargent, Laura Wilkinson, Mike Davies, Darren Smith (narrator), Wencke Synak. Directed by Arthur Patching and Christian Serritiello
Art isn’t easy. It isn’t meant to be spoon-fed to the observer; it is meant to engage them. It requires thought, emotion, whimsy – sometimes all at once. Making art requires focus and determination, a willingness to leap before you look, and a very thick skin.
There’s no plot here per se and I guess it would be fair to say there’s not really a concept either unless you choose to supply one of your own. The main “storyline” here – an artist is given a show at a gallery on a remote island and ships her art there. When she doesn’t hear anything for months, she becomes alarmed and sets out to the island to find out what happened to her artwork. There…stuff happens. Eventually, the movie ends.
The storyline I speak of doesn’t kick in until 35 minutes into the film. Before that there are a series of vignettes – a guy (Serritiello) on a train to Zurich with a girlfriend he no longer loves (and who no longer loves him) and whose face he no longer can see clearly gets off the train and finds himself in a weird, strange place. He ends up dealing with his past which isn’t all rose-colored; when in a jazz club he sees a jazz vocalist there who was once as close as a brother to him but whom he abandoned. When confronted, all the man can do is murmur “I’ve changed.”
A performance artist uses a real gun n her performance art. A party engages an Italian speaker to speak to them, even though none of them speak a word of the language. Apparently, that’s a thing there as there is a Speaker’s Agency from which you can rent foreign language speakers. People eat. People scratch. People laugh. People move about until the man’s story is left behind and we follow the artist and her journey – which starts out as an animation.
The directors are apparently fond of extreme close-ups; they are employed relentlessly throughout the film. The thing about extreme close-ups is that they tend to distort features and make even the most beautiful people look ugly. It gets to be repetitious.
But then, repetition seems to be a theme here. Lines of dialogue are repeated several times (and sometimes more than that). Lines are repeated by Greek choruses of background performers. There is something very La Dolce Vita about the whole thing. A secret, though, about repetition; sometimes it’s not creative; it’s just repetitive.
I’ll be honest with you; my taste in cinema tends to be a bit more mainstream and so it was difficult for me to sit through the film at times. I can say in defense of the filmmakers that there is a great deal of imagination shown throughout; in one scene people are caged like birds and instead of voices coming out of their mouths, chirping and birdsong comes out. I found that to be funny in a renegade kind of way.
I can’t say this is for everyone. The average viewer will find it unfathomable and difficult to watch, and they aren’t wrong. All I can say is it requires a commitment on the part of the viewer to actually use their brains and any opportunity to do that in this day and age where stupid really is as stupid really does is welcome.
Gelateria has yet to play on an American screen although there are plans to take it onto the festival circuit once theaters reopen and film festivals are up and running again, so those who are fond of the avant garde may want to keep an eye out for it. While the filmmakers are concentrating on Europe, there are plans to have it in North American festivals and eventually, on a streaming service of some sort.
REASONS TO SEE: At times, very imaginative with a subversive sense of humor.
REASONS TO AVOID: Falls prey to needless repetition.
FAMILY VALUES: There is some profanity, violence and disturbing images.
TRIVIAL PURSUIT: According to their iMDB entry, the movie has played exclusively at European film festivals to date.
CRITICAL MASS: As of 4/120/20: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: Un Chien Andalou
FINAL RATING: 5.5/10