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La Sapienza | Review #2

Spaces Between: Green’s Controlled, Heavily Stylized Metaphor

Eugène Green is an American born filmmaker who has been steadily making foreign films over the past decade or so, more often than not in French. With his fifth feature, La Sapienza (Italian for ‘the wisdom’), Green provides a playful experiment of heavily stylized tone, focusing intently on specific, purposeful compositions that lends the film a rather off-putting dramatic pallor, especially for those seeking to emotionally engage with the material. Even as it explores certain ideas pertaining to the relationships between people, their past and present, and the distance between time, memory, and themselves, the film’s rigid artificiality often works staunchly against its overall effectiveness.

Frustrated architect Alexandre (Fabrizio Rongione) decides to take his wife Alienor (Christelle Prot) on a trip with him to Italy where he plans to research 17th century architect Francesco Borromini. It’s apparent that their relationship has become a stagnant union,

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