KILL ME PLEASE of Olias Barco, 2010
The beginning of Kill Me Please seems in every way everything a movie Dogma . Photography in black and white very sharp, coarse, icy, making a pair with environment and scenery, no sound extradiegetico and represented a theme, that of assisted suicide, very dramatic and dark. Well, nothing could be more wrong. With the progress of the film, as the swirl of stars is discussed by Barco , The tone begins to fade and it is understood to be in front of a comedy, very dark, but still this. The characters who, for various reasons have decided to seek the help of Dr. Krueger, taking refuge in the clinic he founded to try to dissuade people from their suicidal thoughts, but also to help them in case they want to go all the way, will affect a broad spectrum , so perhaps too schematic, from clinical disease to depression or "simple" loss of hope. More realism that characterized so, the protagonists are characterized in a caricaturist, are slowly being swallowed up in a chaotic spiral of disruptive and anarchic madness that enhances or flap their total death wish with irreverent cynicism. The film by French director here at the second test after trascurabilissimo Snowboarder and a handful of short, completely fails to hit the target, because, although punctuated by lightning and scorrettissime banter and really funny situations, the film, especially in the second half, seems to slip from the hands of the boat that fails to make full fire nor the soul of a black comedy , nor even the satire against the controversial topic of assisted suicide. The fold deliberately nonsensical and surreal where Kill Me Please deviates from a certain point forward, odds with the subversive against the view of death by the western society that would embody. With all the flaws of a small production can be fiercely independent, the Belgian film is still a breath of fresh air, compared to a fun rollercoaster ride.
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