Sur le concept du visage du fils de Dieu (Sul concetto di volto nel Figlio di Dio)

The atmosphere of Sur le concept du visage du fils de Dieu is reminiscent of that of Purgatorio: same plush living room, same slice of banal daily life shot in sequence, without cropping of any kind. An old man is staring at his television set, headphones on, and his bachelor son is about to leave him to go to work. At the back of the stage, however, there is an anomaly: a gigantic portrait of Christ - an enlargement of Antonello da Messina's Salvator Mundi - whose fiery gaze watches over the darkness. Gradually, in the codes of unvarnished realism, the immaculate salon becomes the seat of an increasingly unmanageable disorder. In a time that stutters, the son's every gesture on his father's behalf feels like a cause to be embraced, as if it demands the support of every viewer. His patience and pity, his love and anger, even his hatred as his powerlessness to overcome the crisis is revealed, provoke empathy mixed with dread. JLP