This movie begins with an easy answer. As an audience we are thrown right into the middle of Vittoria breaking off her engagement to Riccardo. Since we have never met either of them before we do not really know what circumstances have brought our protagonist to this decision. But gradually through some very deliberate set dressing and camera placement we start to put it together. Vittoria is like a caged bird trapped in this luxurious home. All the windows are blacked with giant curtains. In an effort to open things up more, she pulls back the drapes only to be confronted by a large, phallic, modern building. And though the bushes outside are clearly swaying with a pleasant breeze, she has to settle for a small oscillating fan to mechanically whip her hair around. We understand her decision to flee. But from there, things get much more complicated.
For the remainder of the film there are nothing but open windows and doorways. There is a heatwave on and a substantial portion of the film even takes place outside. This should be the answer to Vittoria’s problem right? But what we find instead is a whole city intent on a quick fix for their existential angst in the form of the local stock market. Even Vittoria’s own mother is fixated on the fast and furious world of buying and selling. But when the market unexpectedly turns sour, whooping and hollering traders are suddenly left to reflect upon their empty existences. Or maybe to simply draw flowers on a napkin. Even a wild girls night just ends up descending into imperialist chit-chat, racism and even blackface. This whole world is sick and depraved. So what is the answer? Though extremely quiet, the final seven minutes of this film speak very loudly. You just might not like what they have to say.
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