Name: La Chimera
Genre: Drama, Fantasy, Comedy
Released: 2023-10-12T00:00:00+00:00
Cast: Josh O'Connor, Carol Duarte, Alba Rohrwacher, Isabella Rossellini, Vincenzo Nemolato

The moment Josh O’Connor’s Arthur hurls the decapitated Etruscan statue head into a lake, La Chimera crystallizes its central tension: between greed and reverence, exploitation and awe. Alice Rohrwacher’s film isn’t the escapist fantasy its title might suggest—it’s a gritty, thorny meditation on longing, set against Italy’s 1980s archaeology underworld.

O’Connor delivers a career-best performance as Arthur, a British grave robber with a clairvoyant gift for locating Etruscan tombs. His irritable, sullen demeanor masks a deep well of grief for Beniamina, his lost love, whose absence haunts him like the ghosts of the past he and his gang plunder. The film’s emotional core lies in Arthur’s fraught relationship with Italia (Carol Duarte), Beniamina’s housemaid, who challenges his moral compass. Their beachside confrontation—where she condemns his desecration of the dead—is one of the film’s most electric scenes, charged with ethical urgency. O’Connor’s performance is a masterclass in restrained intensity, conveying Arthur’s internal turmoil without succumbing to melodrama.

Rohrwacher’s direction is both earthy and enchanting, blending the mundane (the gang’s bickering over meager payouts) with the mystical (Arthur’s “chimera” visions). The cinematography—particularly the underground shrine scene, where Arthur confronts the decapitated goddess statue—is visually striking, using shadow and light to evoke both sacrilege and reverence. The film’s pacing, however, falters in its middle act, meandering through festivals and auctions that, while atmospheric, slow the narrative momentum.

The supporting cast is strong, particularly Alba Rohrwacher as Spartaco, the ruthless antiquity dealer whose auction scene crackles with tension. Isabella Rossellini, as Flora (Beniamina’s mother), brings quiet poignancy to her role, embodying the film’s themes of loss and longing. Vincenzo Nemolato as Pirro and Lou Roy-Lecollinet as Melodie add depth to the tombaroli gang, each bringing a unique dynamic to the group’s dysfunctional camaraderie.

La Chimera’s originality lies in its refusal to romanticize tomb raiding or mysticism. It’s a film about the Chimeras we chase—love, redemption, belonging—and how they often lead us deeper into moral ambiguity. Rohrwacher’s informal trilogy about Italian identity culminates here, weaving together themes of religion versus paganism, tradition versus modernity, and the inexorable pull of the past.

The film’s genre fit is where it truly shines. It’s not a straightforward drama or fantasy but a hybrid that defies easy categorization. The blend of archaeological heist, romantic tragedy, and mystical fable makes it a unique entry in Rohrwacher’s filmography. Comparisons to her previous works, like Le pupille, highlight how La Chimera soars where others falter—its willingness to embrace childlike enthusiasm without feeling dull or whimsical for whimsy’s sake.

Critics have praised La Chimera for its mature whimsy and self-aware brilliance. The film’s selection to compete for the Palme d’Or at Cannes and its 13 nominations at the David di Donatello awards underscore its critical acclaim. Yet, it’s not without flaws. The pacing issues in the middle act and the occasional meandering narrative might test the patience of some viewers.

La Chimera is a film for those who appreciate complex characters and moral ambiguity. It’s for audiences willing to engage with themes of loss, longing, and the ethical dilemmas of exploitation. Rohrwacher’s enchanting spell of a movie mines the depths of human desire and the ghosts that haunt us.

The film’s strength lies in its ability to balance opposing forces—religion and paganism, tradition and modernity, love and loss. It’s a push-and-pull dynamic that defines Arthur’s journey and the broader narrative. The Epiphany celebrations, for instance, serve as a microcosm of this tension, juxtaposing communal joy with individual despair.

O’Connor’s performance is the film’s beating heart. His portrayal of Arthur is nuanced and layered, capturing the character’s grief, guilt, and longing with subtle precision. The scene where Arthur confesses his feelings to Italia on the beach is a standout moment, highlighting O’Connor’s ability to convey vulnerability and desperation in equal measure.

The supporting cast elevates the film further. Carol Duarte as Italia brings a fierce moral clarity to her role, challenging Arthur’s actions and forcing him to confront the consequences of his choices. Alba Rohrwacher as Spartaco is a standout, her portrayal of the ruthless antiquity dealer adding a layer of complexity to the film’s exploration of greed and exploitation.

The cinematography is another highlight, with Rohrwacher using light and shadow to create a visually striking world that blurs the line between reality and mysticism. The underground shrine scene, in particular, is a masterclass in visual storytelling, using the decapitated goddess statue as a symbol of both sacrilege and reverence.

However, the film’s pacing issues cannot be ignored. The middle act, while atmospheric, sometimes feels meandering, with subplots and secondary characters detracting from the central narrative. This is particularly evident in the festival and auction scenes, which, while beautifully shot, lack the same emotional urgency as the film’s more intimate moments.

La Chimera is a deeply rewarding film that balances grit and mysticism, grief and longing. It’s a testament to Alice Rohrwacher’s directorial prowess and Josh O’Connor’s exceptional performance. The film’s exploration of complex themes and moral ambiguity makes it a standout entry in Rohrwacher’s filmography and a must-watch for those who appreciate thought-provoking cinema.

In conclusion, La Chimera is a film that defies easy categorization, blending elements of drama, fantasy, and comedy to create a unique and enchanting cinematic experience. Its strengths lie in its exceptional performances, visually striking cinematography, and exploration of complex themes.