The Torino Film Festival reserves nice surprises. He suggests to his friend Daniel Lombardi Hideout than that of 1 December 2010 was a day themed mockumentary.
In competition it was the turn of the bizarre Vampires, led by Belgian Vincent Lannoo. A real (fake) and its report on a community of vampires in Belgium with a lot of interviews with various members of the families with which the documentary crew comes in contact. Very original idea that fails to fall into clichés cleverly films already Visas: indeed, without the decadence of the Baroque Interview with the Vampire, the bloodsuckers of Vampires seem more real than the humans themselves, with the same weaknesses every day and struggling with family problems more common. E 'on the dichotomy between their world "upside down" and their style even though it seems so familiar that the film manages to smile, brushing often grotesque. In fact, the entire narrative is more than a picturesque image on a community of vampires, but seems to be about a precise allegorical language, with lots of references to the Belgian social-political and generally advancing a jet-black satire on the issues of strict News (Eg that of illegal immigrants in the film take the form of "dinner" delivered at home). In addition, in their horrorifica comedy, vampires Lannoo seem to be harbingers of a neutral bitter hopeless: they are "without the ability to dream, even if you stabbed in the back of the same species and some of their ambition to rid the eternal damnation, which condemns him to wander with their irremediable defects, without ever managing to integrate, even in societies "vampire" most advanced and modern (such as Canada). The image of the adolescent vampire who made his desire to return is the only known human light of the whole film (also expressed stylistically, in a final last day). A loner as an escape from a dark future in which all the world will be sucked. "
In competition it was the turn of the bizarre Vampires, led by Belgian Vincent Lannoo. A real (fake) and its report on a community of vampires in Belgium with a lot of interviews with various members of the families with which the documentary crew comes in contact. Very original idea that fails to fall into clichés cleverly films already Visas: indeed, without the decadence of the Baroque Interview with the Vampire, the bloodsuckers of Vampires seem more real than the humans themselves, with the same weaknesses every day and struggling with family problems more common. E 'on the dichotomy between their world "upside down" and their style even though it seems so familiar that the film manages to smile, brushing often grotesque. In fact, the entire narrative is more than a picturesque image on a community of vampires, but seems to be about a precise allegorical language, with lots of references to the Belgian social-political and generally advancing a jet-black satire on the issues of strict News (Eg that of illegal immigrants in the film take the form of "dinner" delivered at home). In addition, in their horrorifica comedy, vampires Lannoo seem to be harbingers of a neutral bitter hopeless: they are "without the ability to dream, even if you stabbed in the back of the same species and some of their ambition to rid the eternal damnation, which condemns him to wander with their irremediable defects, without ever managing to integrate, even in societies "vampire" most advanced and modern (such as Canada). The image of the adolescent vampire who made his desire to return is the only known human light of the whole film (also expressed stylistically, in a final last day). A loner as an escape from a dark future in which all the world will be sucked. "
With less ambitious sociological another mockumentary was expected Last exorcism, which was presented to the section Confidential Report. Still horror, but this time demonic flavor, the fake documentary (produced by Eli Roth) follows the story of a preacher who wants to show the world how the practice of exorcism is actually a scam and pretty good. Needless to say, during his mission to teenager declared possessed by his father, the young preacher (and crew who took back) you will have to convince you otherwise. Fully stitched-on style that made famous the genre (from The Blair Witch Project to Rec ) the film is now very weak both in terms of narrative, and from that style, since too rapid a succession of different shots in real time, confers on an almost alternate mounting, resulting in almost pure fiction. This style was very convincing and hybrid does not help at all to involve the viewer in a screenplay that struggles to take off (or simply to frighten), so that the end was almost forced to regret the camera fixed Paranormal Activity.
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