UNFACEBOOK

The parish priest of a town on the Puglian coast is tired of absolving the sins of his parishioners who confess to him daily. Adulterers, swindlers, pedophiles, people disreputable in the eyes of God who are symbolically forgiven, as the ecclesiastical institution requires. The priest then promotes himself as an avenger, "Sword of God," and with the help of hypnosis induces some sinners to commit suicide. With the discovery of the web chat Unfacebook, the priest decides to recruit a group of young followers who, hypnotized through the internet, go to punish the sinners, killing them. A commissioner recently transferred from Turin here takes care of the case, trying to find a connection to the terrible events that are blooding the city. In his second feature film, the young Puglian director Stefano Simone shows that he has developed a content style that makes him recognizable in the Italian independent scene, as well as demonstrating a decided artistic growth and mastery of the cinematic medium. "Unfacebook," like "Una vita del mistero," speaks of religion and the relationship that humans have with faith. In both cases, it is a direct, absolute relationship of pure devotion but treated from two diametrically opposite perspectives. On one hand, there was the common man intent on developing a path of Christian knowledge and affection towards the deity, on the other hand, there is the man who elevates himself to deity, embarks on an ascent that places him above humans and gives him punitive power over those who are stained with serious sins. Two different points of view that also place the Church under two opposite gazes. "Una vita nel mistero" welcomes the Catholic message and almost makes itself a vehicle; "Unfacebook," on the other hand, appears critical of the ecclesiastical institution and condemns the lightness with which confession is practiced. But it is not only a message from the Old Testament that distinguishes the film that Stefano Simone draws from the unpublished story by Gordiano Lupi "Il prete," but we can also find a clear criticism of the virtual world and its "hypnotic" power that especially involves the new generations. "Unfacebook" condemns the web, social networks especially in the wrong use that young people make of them, intent on embracing technology as a "distraction" weapon of the masses rather than a means of utility, communication, and knowledge. The message is clear from the title, which mimics the most famous social network in the world to give life to a web-chat that becomes the primary vehicle for the mad priest to corrupt the young minds addicted to cell phones and the internet. At times this message becomes excessive and didactic, almost paroxysmal, but it works as a metaphor for current times and indeed it is in the high concept that underlies "Unfacebook" that we can find the point of greatest interest in the operation. Using references and tributes to much contemporary or recent past cinema from the Japanese "Kairo – Pulse" (the web as a place of relational denial and induction to suicide) to the Carpenterian "Prince of Darkness" (the "zombified" disciples) through the inevitable "Saw" (the pseudo-moralistic killer who kills by proxy), Simone builds a fast and stylistically modern thriller. The tight editing, almost like a video clip, brings "Unfacebook" closer to the nervous narration of the current metropolitan thriller of American style, as well as the extremely bright photography that enhances whites and blues (will it be a reference to Facebook's colors?), sometimes perhaps exaggerating with the consequence of enhancing the digital matrix of the recording means used. There are also strong scenes, with sequences of murder and suicide that, although not showing much, are conceptually disturbing (the self-castration of the pedophile above all). In this regard, we can note that the film's special effects were curated by Giuliano Giacomelli and Lorenzo Giovenga, directors of "La Progenie del Diavolo," who also appear in a cameo. The screenplay written by six hands by Pia Conoscitore, Dargys Ciberio, and Antonio Universi presents some imperfections in the management of the narrative rhythm, characterized by an immediate initial surge that continues with a central smothering and a final anticlimax. Furthermore, the psychologies of the characters do not appear particularly elaborate and realistic, with the usual childhood trauma that haunts the commissioner and an excessive emphasis in the delineation of the priest. The cast appears convincing overall, with the only flaw being Giuseppe La Torre who does not give naturalness to the character of the priest, sometimes excessively caricatured. Good the naturalness and detachment of the commissioner, played by Paolo Carati, and in the role of the police chief, we find Tonino Pesante, already the protagonist of "Una vita nel mistero." A final mention to the music curated by Luca Auriemma, an obsessive and catchy electronic score that brings to mind some pieces by the historic Goblin and appears entirely suitable for the dark and nervous atmospheres of the film. "Unfacebook" is an interesting work rich in points of reflection, sometimes a bit too loud, sometimes more subtle. Overall, the second feature film by Stefano Simone can be considered successful and shows a decisive step forward in the director's career, although not free from defects. Rating rounded up for excess.