Liza

Deleuze noticed that Ferreri mastered the "art of evoking original worlds amidst realistic environments..." (…) And "he places strange instincts here, such as the maternal instinct in males in La donna scimmia or the irresistible instinct to blow into a balloon in the film Break up." (Film 1, pp. 156-157) Instinct does not lead anywhere, it does not construct anything, it feeds on itself - it certainly does not construct a plot, a comprehensible arc for the average viewer, weaned on musty narrative forms already drained from their own Babička - which is just as incestuous or perverse as many of Ferreri's films. When a Man tells a Woman that he doesn't want her to be just another Friday to him, he means that he doesn't want their story to be just another conventional narrative of growth, education, upward direction, a civilizational fairy tale of progress, and a bourgeois fairy tale of progress in the storyline: Robinson's island remains uncultivated, the engine of civilization does not start, the end of the film is not pointed, and the course of the action is not heightened. In Ferreri's work, the process of externalizing the primal instinct (or scriptural intention, intelligible metaphor, etc.) merges with the staging of the entire film, which does not need to say anything more because there is nothing more to be found in it. "After all, it was just a dog" will undoubtedly be followed by "after all, it was just a woman" in the next step, and in the end, it was just love, it was just life, it was just a film... (29.10.2023)