Locarno review: Fairplay (2022)
‘Fairplay’ is a complexly envisioned mosaic film that proves the point in an extremely audience-friendly package blending thriller, drama and social satire.
‘Fairplay’ is a complexly envisioned mosaic film that proves the point in an extremely audience-friendly package blending thriller, drama and social satire.
The two stories, one individual portrait of a person used to exist in quite rigid and uneventful environment marked by the never-changing routines, and a group portrait of “easy riders”, come to a joint end in the setting resembling a Western movie, dipped in warm colours of the 16mm footage.
Daron is the hero and the subject of Kevin Steen’s short documentary ‘Daron, Daron Colbert’ that world- premiered at Locarno.
Last Screening is a bit of an antithesis to ‘Kairat’, coming thirty years later, and set in a very interesting geopolitical context.
Abdi is a character that is easy to sympathize with, but the most interesting layer in this story is a meta- one, about the use of technology and the modelling work to tell a story in a sincere and compelling way
As the species, we tend to believe what we see more than what we hear someone says, but outside the context, a tabloid picture or the viral video from the internet is still equal to a rumour.
The suggested implications are actually a bit frightening, since the football fandom is less about the game and the club, and it serves more as a pressure group and recruitment camp for sinister things.
Two young women, one Persian immigrant and one German native, are in a relationship, but both of them have their personal “baggage” and agenda.
The highlight of the segment and also its most realistic entry is Joanny Causse’s American-French co-production ‘Rachels Don’t Run’
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