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Review of The Turning Point In the streets, Duplass, and in the sheets, Hitchcock

Still from The Turning Point

The Turning Point (La svolta) is a movie directed by Riccardo Antonaroli.

It has a cast of Andrea Lattanzi, Brando Pacitto, and Ludovica Martino.

The movie is 1 hour and 30 minutes long. It is in Italian. 4 out of 5.

Netflix has “The Turning Point” on it.

We enjoy being fooled by movies. As you watch the end credits, you’ll wonder why you didn’t see that twist coming. It makes you feel like a boxer who has been defeated by someone who is better and more skilled than you. Everything, even the round where your opponent faked an injury to make you feel like you were invincible, was just a ruse. A red herring that is a lot bigger than you. A surprise hit. Because your opponent thought you were going to be comfortable all the time until you were not. You only realise how important and simple the plan was when you look back on it now. Because you are a certain kind of person who has trained with people like that, you didn’t see it coming. One of Riccardo Antonaroli’s movies, “The Turning Point,” doesn’t seem to be that big of a deal at first glance. There was a scene in The Prestige that reminded me of the opening monologue about magic tricks. It was directed by a person whose early work can be seen in Antonaroli’s story control and conceit.

The Turning Point plays with our movie-watching habits for most of its 97 minutes. It knows that people will question its simple idea. It starts with a young man named Ludovico (Brando Pacitto). He lives in a messy apartment in a small town. He’s a typical drifter in a story. His dad gives him money. For school, he is learning about money. He wants to be a comic book artist. Soon, it is found out that he is depressed. An unknown person named Jack (Andrea Lattanzi) comes in through the back door and wants to hide from a loan shark who has stolen his money bag. Ludovico lets him in. Jack is a firecracker, full of guns and fury. He needs to stay with Ludovico until the henchmen leave. As he helps him get out of his bad mood, Jack starts to teach Ludovico how to cook, clean, think, and talk to the girl next door. Slowly but surely, Ludovico comes out of his shell and is ready to meet the outside world.

This movie is too good to be true for anyone who has seen a lot of lonely movies. The outcome is not likely. Everybody thinks this movie is about someone who is depressed and has to write a fake comic book story to help him feel better. Jack isn’t real, right? She doesn’t like that he’s always moving, that he’s always thinking about Ludovico, and that he’s always thinking about her. He gets too close too quickly. If an artist is going to die, Jack is likely the thing that saves them. His father even wants to see his work at first, but Ludovico is ashamed and doesn’t show him. What’s interesting is that the film wants us to think in this way. Then, too, It’s like how the actors do it, too. The opening shot also gives a clue to the psychological/fantasy side: You can see Ludovico’s window in a sea of buildings in a town in Italy. His apartment faces a clock tower. These must be short stories about a story inside a story. This is how Ludovico sees the world, and this is what he thinks.

Finally, we find out how the movie works. But the twist isn’t the same as other twists. If it challenges our ideas about storytelling and protagonists, fragile characters, and mental health, then it’s the kind of film that we should watch. It relies on being what the viewer wants it to be for a lot of its length. A story about a weak boy becoming a strong man Even though it was there all along. Observe how the story moves from two men in an apartment to a loan shark boss, his angry henchmen, his psychotic hitman, and the people who are trying to find Jack. There is a clue in the way the story moves. I thought these side events were a good result of Ludovico’s world-building and design, or maybe just his imagination. A double bluff on top of our double bluff: that’s what the other people might have been doing.

Because, oh, my gosh! I’m not annoyed, either, because in the end, it all makes sense. It takes advantage of the average viewer’s blind spot. When we see meek and morally upright people in need of help, we think of an underdog story right away. Their lives deserve to be saved and raised by books and movies. People haven’t talked about mental health for so long that it makes sense to recognise and formalise any signs of it now. The film-making of The Turning Point shows that it has this instinct. It starts with Ludovico and his life. Jack comes in later, but he isn’t here yet. After that, though, there is both a change in narrative grammar and a victory in mental sparring. That jarring The Newsroom episode about Will McAvoy hanging out with the ghost of his young father in prison is proof that it could have gone a lot worse than it did.

Instead, they lift us off of the bloody mat, pat us on the back, and thank us for being part of an exciting fight. There is no shame in losing to a movie like The Turning Point’s gameplay. They don’t look like champions. We need more people who aren’t champions. A gimmicky genre that has been used a lot by student films and ’90s psychological thrillers has already won half the battle thanks to this new movie. Because the mind still has some demons to show, when someone looks at a bruise, they see it in their own way, just like beauty does.