Pardo per la miglior interpretazione maschile: Andrzej Seweryn – OSTATNIA RODZINA
Only great actors can, in the same career, wear the uncomfrotable SS uniform in a dense movie like Schindler’s List and then the humble clothes of an old man, fragile and full of irony, victim of his own fantasies, the one that made him a great artist in the past. Victim and (again) tormenter of himself, of the world he built inside and outside his mind. Of that post-apocalyptic world, of being now the appearance of the cult-artist he was. So now he fights those funny nightmares where Alicia Silverstone rules, aware that he can’t renounce them. The powerful and reflective portrait of Ostatnia rodzina (The Last Family) has its cornerstone in him, the lens through which to experience an excentric family losing its center, which it never really had, day by day. From the woman struggling to hold it together, to hold them together, to the son, a D.J. and Monty Python translator, defeated by his own hopes. Seweryn is not only the main character but also the boatswain in a ship caught in a storm, a teacher in a microcosmos that in its weirdness hides the horror he sublimated in his masterpieces. And perhaps that same microcosmos has been infected by his works.
Only thanks to him, thanks to the talks with his healer, which divide the movie in acts, we can see the opening cracks, the upcoming collapse. Just through his performance’s nuances the audience is swallowed in an emotional uncertainty which shakes not only the viewer’s soul, but also whoever lives the future’s precariousness, inside and outside the screen, in a quiet chaos of several lives falling apart.
In these two hours, more than in other movies, we can understand this astonishing actor is all of his characters and at the same time none of them. He, just like Robin Williams in One Hour Photo (who he resembles in an unsettling way), shows in this movie to be a complete perfomer, capable to push us where someone else would just have been afraid to get close.