WATCH THE TRAILER HERE
First, the Recap:
Beware where you step. Watch what you say. Be prepared for the consequences. All proper warnings in any situation we might find ourselves where the outcome may not actually be all that we’ve envisioned or aware could occur. Yet, do we not stumble headlong into those exact scenarios, whatever form they might take, and end up learning these lessons the hard way? Perhaps it’s all a part of life. But, in some cases, certain lessons might be much more permanent then we would desire.
Four small time hoods–Dali (Pietro Mercieca), Ryad (Samir Zrouki), Rabah (Idir Azougli), and Aliou (Fabrice Monteiro)–want a bigger score. Rabah’s bravado is potentially tempered by the far more hesitant Dali, but forward they go with their plans. Two men, Dario (Hugo Diego Garcia) and Giacobbe (Lorenzo Bentivoglio) are out having fun one night when, initially unbeknownst to them, their world is about to collide with the others’, with results more devastating than expected–but for who?
Next, my Mind:
“If you talk it, you’d best be able to walk it” might be one quick way to sum up the ultimate moral of this 30-minute darkly-toned, character-driven dramatic short film from writer/director/producer/actor Hugo Diego Garcia, which more than decisively delivers its quietly (at least at first) intense, cautionary tale-based narrative with a fervent, fiery intentionality that likewise finds space in the midst of slowly building chaos to usher in a story about doubt, honor, forgiveness, second chances, loyalty, unanticipated mercy, and the price paid for being immersed in everything you believe you want, yet might find isn’t what you truly need.
One could easily argue the additional thematic concept of class struggle is also present here, given the status of the four men desperately trying to live “the life” by seeking out the rich as the target of their criminal aspirations. However, what gives this story its inner strength is the internal battle that is being fought on both sides of the equation by two of the primary players, men absolutely resolute in their own sense of self and what they genuinely wish to pursue in life, yet also try to stand firm in the code of brotherhood and kinship with those they’ve trusted, or are trying to do so, to extents that may or may not be to their utmost benefit.
How these nuances are explored in the two characters really provides an underlying dimension to the film that, at some points, transcends the other facets of events as they unfold, as it’s causing us as the viewer to wonder just how much sway the lingering elements within them will end up controlling their attitudes and actions when everything comes to a head, which here incidentally is presented in a decidedly intimidating, explosively potent fashion that leaves an indelible mark upon you and further thrusts the film’s purpose and message home with a no-holds-barred impact that is both highly satisfactory yet undeniably frightening but with, I felt, an exquisite little twist that really makes the whole story complete.
As with one of Garcia’s other directorial efforts, “Tony”, I was once more totally enamored with the overall ambiance and accompanying imagery that made up this film, as it heralded another travel into that realm which encompasses a contemporary manner with what I still consider an 80’s crime drama vibe, very Michael Mann-esque through the means by which it embraces both the daytime and nighttime settings, focusing on the human factors while still providing action in all the right places to make its points. Similarly, it was deft use of another atmospheric music score from Malo Garcia (aka: the composer/electronic artist known as MALO) to enhance the environment on display.
An ensemble cast lends further, highly effective weight to the production, first on the part of Mercieca as Dali, part of a group of hoods yet far above and beyond them in his scope of life and what he really desires himself to aspire to. Trying to rise above it only brings mostly playful derision from his friends, yet he still tries to curb the acts of criminality they wish to strive for. It’s a fantastic study in contrasts for the character and how it all culminates is even more impactful thanks to Mercieca’s chops and strong overall performance.
Garcia steps into the shoes of a dedicated yet somehow haunted man in his role as Dario, an evidently well-to-do individual whose absolute devotion and commitment to everyone close to him is paramount, even though we also see that his own past isn’t exactly like we may have thought. As the events escalate and choices must be made, it showcases the real soul of a self-confident but honorable person, and how it then affects his own personal decisions is quite a weighty path. Garcia embodies this style and look of character so overtly well, and you genuinely believe him as this character thanks to his passion in the role.
Bentivoglio returns with another strong performance as well, this time as Giacobbe, Dario’s cousin and it seems closest confidant/friend whom enjoys the time they have to party, just live life, while of course finding time for their respective ladies. However, when the scenario changes one night and push comes to shove, there’s an interesting sense of withheld power he wields, similar in reaction to Dario, that leads one to wonder if there’s more to him than it seems. Watching how this is dealt with makes his journey one of resolute, unwavering commitment to those he values, and Bentivoglio makes you feel every emotion.
Azougli shines as Rabah, the de-facto “master” of the small group of hoods and the cheerleader for wanting them to make a bigger score no matter what it takes. His swagger boasts machismo but also perhaps foolhardiness, and Azougli excels in enacting this dichotomy throughout. Zrouki and Monteiro (who is making his debut here) also provide absolutely solid supporting performances as Ryad and Aliou, the other “parts” of Rabah’s rabble who really seem to play “follow the leader” and just go along with Rabah without really having any true backbone or say in the matter other than wanting to score big and “be” known.
Other perfectly sound supporting appearances are made by Tess Boutmann and Clara Joly as Bianca and Carla respectively, the girlfriends of Dario and Giacobbe who most assuredly become involuntarily involved in the mess they all find themselves in and having to reckon with. In total, “Cagnolino” grips you from the start with its foundational premise then takes you on a much more complex and unanticipated journey with full-out, emotionally-charged, purposeful abandon, climaxing with a fury both obvious and subtle, so as to let its resulting messages resound well beyond the film’s fiercely severe yet strangely affecting finale.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
