CIN­EMA PAR­ADISO

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Prada’s third film col­lab­o­ra­tion weaves an in­sight­ful tale of fate.

From the lu­mi­nous depths of ac­claimed di­rec­tor Wes An­der­son’s ec­cen­tric imag­i­na­tion comes the next Prada Clas­sics project: an icon­o­clas­tic and ex­per­i­men­tal eight-minute short film, Castello Caval­canti. An­der­son’s tale takes us back to 1955, an era blaz­ing with the acid colours of Fifties Formica, where neon sig­nage burns bright.

Driv­ing through pic­turesque Italy, Ja­son Schwartz­man sud­denly crashes his rac­ing car into none other than Je­sus Christ. He soon finds him­self in a pitch-per­fect pe­riod town, a one pi­azza kind of place where the soli­tary bus makes spo­radic ap­pear­ances and fam­ily se­crets are shared over spaghetti. Re­flect­ing upon the stark con­trast of his urbane, slick self with the un­fa­mil­iar sur­round­ings, Schwartz­man even­tu­ally re­alises that ev­ery­thing hap­pens for a rea­son and em­barks on a jour­ney of per­sonal rev­e­la­tion. “In a way I’m glad I crashed,” he later ad­mits with marked relief. “It’s a warn­ing for me.”

Castello Caval­canti de­buted at the Rome Film Fes­ti­val late last year to great ac­claim. Brim­ming with vi­vac­ity, it fol­lows on from Prada’s 2012 col­lab­o­ra­tion with film mae­stro Ro­man Polan­ski, and looks set to reaf­firm the house’s strong con­nec­tion with art, ar­chi­tec­ture, and film. www.prada.com

A scene from Castello Caval­canti

Wes An­der­son

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