Life Style 

Richard Gere’s critically overlooked masterpiece just premiered on Netflix and will keep you hooked for weeks

Life is a curious challenge. Although there are a thousand situations that seem to test our resistance the most, life presents itself to us in exactly the proportion that each one can bear it, but does not stop persuading, disrupting the most ordinary plans that we dream of. , runs violently over everything we can hold dear, imposes upon us a transcendent nature hovering over all that exists, of light and shadow, salvific and harmful, master of all that exists, surprising us even in the most intimate, details of ourselves that we thought were We knew this very well, which proved once more that he was always sure of the dominion he exercises over all his creatures. It takes some commitment to find the reason for so many obscure intentions, why we are thrown into abysses so deep and so inhabited by monsters that we ourselves cradle, when the belief that life is primarily a dream. But dreams seem to manifest themselves in a monstrous way, adding another almost insignificant piece to the infinite mosaic of the horrors of existence.

When a man lives and acquires some intimacy with life, he finds that the greatest pleasure of this divine and diabolical being, who is here too short or too long, is to yield to his whims, for which there is no real excuse in the world. He can never claim to know. Life passes, fortunately – only for this reason we can have some control over its unpredictable tricks, and it is still a great risk to think so – and leaves a trail of destruction that waters the stream of tears we shed, so many that they are a salt sea, as the poet sings. A convulsive cry, often exaggerated, but also a genuinely painful cry, sanctified by the pain that only hurts us (and how it hurts!), heals in the opening of deep wounds, heals in a moment of new grief, begins another cycle of bombs and debris. , until a broken soul takes a hit.

John Avnet talks about dreams like little else. There is a certain impulse in the director’s work to try to get to know the dark alleys of the human mind, to identify possible explanations for the detours we insist on. In Três Cristos, Avnet maintains a kind of commitment to the viewer to delve into what his characters have to hide, putting everything on the table without the half-truths of other works that have made him internationally famous. The disturbing “Tomates Verdes Fritos” (1991) is an example that is far from unanimous. In a script that stands out for its emotion, beauty and multifaceted, complex approach to the types it portrays, the director and Eric Nazarian capture a less obvious side of madness, perhaps too romantic, but never frivolous.

Based on “The Three Christs of Ypsilanti” (1964), one of the bibles of the new psychotherapy, Avnet and Nazarian absorb its author’s libertarian spirit – even the unruly – beyond the gifted view. surface. This trait, rare, can be apparent, especially in someone who chooses to make a living by digging into the brains of others, a decision that does not go unpunished. The town in southern Michigan that the Polish-American social psychologist Milton Rokic (1918-1988) mentions in the title of his book was home to one of the most vivid (and controversial) experiments in psychiatry. In 1959, three men who claimed to be none other than Jesus Christ began attending the same psychoanalysis session, while his mental illness was temporarily halted by strangulation and electric shock, Rokic took a twisted path that would indicate over the years that he It has no end, but whose progress can already be measured today, after more than six decades.

The trio of schizophrenics to which Avnet’s film alludes – and interestingly, Rokic himself, misguidedly, calls himself the fourth “Christ” – arouses the interest of someone in history, which, by the way, has no didactic pretensions. Peter Dinklage’s Joseph; Leon, played by Walton Goggins; Clyde, played by Bradley Whitford; And Richard Gere as Alan Stone, Rokic’s alter ego, in one of his best performances, holds the attention of those who watch until the end as you realize why Stone loves what he does so much.


movie: Three Christs
direction: John Avnet
year: 2017 year
genre: Drama
Note: 10

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