· the film ·
It's a tough film. Very tough. Especially for the psychological violence that –above all in the first half - digs and overwhelms like a relentless bulldozer, everything that it finds on the way.
Still, the story told in the film Monster's Ball (2002), by the American director Marc Forster, shows how even in existential desolation, in emotional poverty that seems hopeless, there is a small flame. This emerges, with great effort in a film dominated by thunderous silence, about the meeting between the African-American Leticia, the wife of a condemned man and the mother of an obese child, and the racist Hans, who works on death row in a prison in Georgia, as had his father before him, and as does his son Sonny, recently hired. The woman and the man will meet on the precipice of yet another drama, at first unaware that their paths have already crossed, when Hans has accompanied the husband of Leticia to the electric chair. The truth will be further salt on already much tried lives, but Leticia – played by Halle Barry, who for this part will become the first African-American to win the award Academy Award for Best Actress - finds a way to reconcile herself with life. The execution opens the film, the attempt (successful) to overcome the despair closes it. (@ GiuliGaleotti)
St. Peter’s Square
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