Tommaso (Willem Dafoe) becomes jealous of his young wife Nikki (Cristina Chiriac).
June 8, 2020 12h14
Tommaso: self-Portrait in a minor mode ** 1/2
CRITICAL / Tommaso marks another chapter in the fruitful collaboration between Abel Ferrara and Willem Dafoe. The actor is fabulous in the alter ego of the director. But it’s not enough to give a surplus of soul in this self-portrait disjointed and long-winded of an artist tortured, and tormented by his jealousy sickly.
The disappointment is great. Ferrara leads an illustrious career of an independent filmmaker who has often been based on films neo-noir sulphurous (Bad Lieutenant, Our funeral…). He adopts here a tone intimate for a strong narrative little original that it can not renew the discourse.
Tommaso (Dafoe) lives in Rome in the company of his wife Nikki (Cristina Chiriac), 29 years old, and his daughter, Deedee (Anna Ferrara), 3 years, where he wrote the screenplay for his next film.
Sober for the past six years, our man spends his time between his Italian course, its yoga sessions and its meetings to alcoholics anonymous, where his confessions are used to describe his states of mind.
His work is disturbed by his jealousy, to the point where Thomas is imagining things. His insecurity is exacerbated by the detachment of his wife, who neglects her a couple to focus on their daughter. Her self-centeredness of adulescente does not help either.
The two protagonists are coming more and more to parallel lives, where there is the impossibility of communication.
Nothing new in this drama ordinary if it is not that it induces a lot of fiction. Not only it is the fifth collaboration between Dafoe and Ferrara, but his wife and daughter in real life who play these roles with the american actor.