Filmmaking is an art form. As such, one could argue; the more subtle a director is in stirring up, evoking, an emotion - the more skilful her/his craftsmanship. There can only be so much in-your-face brutal realism before the stirring of emotions becomes default.
Stefano Mordini has graciously and carefully evolved the story line - he has also.presented scenes so "in your face" that; even if taken out of context and shown as "stand alone images" - they would, in most, evoke strong reactions. In, so blatantly, crossing the line, in not trusting his artistic ability to convey an emotion; he has an uphill battle with regard to presenting art in any higher order of merit.
Insecure in his ability to subtly deliver a strong closing message - Mordini has rendered La Scuola Cattolica an ambiguous affair with regard to genre. Starting out as an apparent art house production it later implodes into docu-drama. Fair to say that the two genres blend very poorly. The crossover makes little sense as; the effort put into the first part whith regard to subtlety and character development is, almost in an intant, thrown to the wind.
If you split the film in two parts, the first ending just before the gun was drawn, and followed both with the list of "what happened afterwards" - you would have two, stand alone films. Both, arguably complete, and both conveying the same story. A reasonable assumption would be that they were made by two different directors.
The end result is a mess, as are the generated emotions - emotions that almost feel thrust upon the viewer.
Stefano Mordini has graciously and carefully evolved the story line - he has also.presented scenes so "in your face" that; even if taken out of context and shown as "stand alone images" - they would, in most, evoke strong reactions. In, so blatantly, crossing the line, in not trusting his artistic ability to convey an emotion; he has an uphill battle with regard to presenting art in any higher order of merit.
Insecure in his ability to subtly deliver a strong closing message - Mordini has rendered La Scuola Cattolica an ambiguous affair with regard to genre. Starting out as an apparent art house production it later implodes into docu-drama. Fair to say that the two genres blend very poorly. The crossover makes little sense as; the effort put into the first part whith regard to subtlety and character development is, almost in an intant, thrown to the wind.
If you split the film in two parts, the first ending just before the gun was drawn, and followed both with the list of "what happened afterwards" - you would have two, stand alone films. Both, arguably complete, and both conveying the same story. A reasonable assumption would be that they were made by two different directors.
The end result is a mess, as are the generated emotions - emotions that almost feel thrust upon the viewer.