Creators: The Past – review

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There are films that leave you speechless. This leaves us incredulous about their nature, which makes us doubt ourselves (will we be too bad?). And they also ask us about the production mechanisms that contributed to the realization of the project. There are films like Creators – The Past, the first chapter awaiting the sequel (so it is declared and confirmed with the final trunk), which we are really curious to see if it will see light.

The ambitious film is the brainchild of the director himself, Piergiuseppe Zaia, who also writes the screenplay together with Eleonora Fani. Zaia also produces and composes the music that massively supports the narration. In times of scarce releases on the big screen, the project has aroused some curiosity, with the release postponed from March to today, now in some decentralized multiplex, without press previews.

In our 2012 (year of the Mayan prophecy), eight Lords of the Galaxy gather to discuss the alignment of planets, resulting in new strategies to be decided. Each governs one, through a sphere equipped with a DNA core which, as far as our planet is concerned, contains the whole history of the human race. But woe betides men if they discover their origins. But the Lord who holds it has other plans. The custody of the object and the maintenance of the secret are however entrusted to an earthly girl, chosen at the time, and to an unsuspecting young doctor, who is here in Italy.

Meanwhile, however, an evil Lord plots to take possession of the object, weaving deceptions and sowing traps. In between there are good and bad, even human or who seem such, that every now and then they seem to exchange roles (devious!). With a structure borrowed (for a change) from video games (objects to be recovered, fights and paths full of obstacles, avatars, etc.), while sometimes someone is looking for a password (but also the gods?), We proceed towards the end open.

It must be said that the plot is exposed in a fragmented way and shuffled in disorder and remains constantly smoky and unnecessarily tangled. Suddenly Jesus, Joseph, Mary, and donkey appear, then adult Jesus on the cross (a cameo by the director himself) and then again him as the deceased, resurrected by Lady Aire, the only woman of the stellar Council sent to solve problems. Because of that (spoiler!) Is one of the secrets that humanity could not accept. Moreover, Jesus on the cross instead of “my God, my God, why have you forsaken me” says “executed” (not even Jesus Christ Superstar, defined blasphemous in his day, dared so much) and we wonder why. But the cameo of the ufologist and scholar of sacred scriptures Mauro Biglino, in the role of himself, leads us to suspect the intention.

One is perplexed by the amateurish tone of the whole operation, which frame after frame turns out to be a product that would be embarrassing for an afternoon TV of the kids of the 80s, for the useless complexity of the derivative story, for the bad acting of the whole cast, old glories or young almost newcomers who are the performers, and one wonders in disbelief how a product like this has arrived on the big screens. The characters speak with exaggerated slowness and solemnity, it is not clear with what intent, if not to accentuate a fairytale tone, while an abyss is created between the voices of the noble dubbers of some characters (Giancarlo Giannini, Luca Ward, Maria Pia Di Meo, Mario Cordova) and the diction of other younger and unknown actors.

William Shatner is the leader of the notables and communicates the feeling of never quite understanding what is going on, neither the character nor probably the actor. Gérard Depardieu plays a kind of religious (but has few scenes) and we stopped asking ourselves about him for some time. Bruce Payne, a well-known face from a long international career, who also participates in the writing and production here, delights with the evil Lord Kal, with killer eyes. The black Lady Aire is played by Eleonora Fani herself, co-author as well as co-producer and in charge of Art Direction. The two heroic humans are the almost debutant Jennifer Mischiati (let’s drop a pitiful veil) and this PelleK, Norwegian Youtube star for her vocal skills, dubbed and therefore we don’t rage on her acting skills. But the expressiveness is hers.

The much-touted special effects focus on swirling galaxies in motion, vaporization/pulverization/dematerialization, and vice versa, and some prosthetic makeup. The real locations are instead pleasant Italian medieval villages (the Castle of Verrés and Castel Savoia in Val d’Aosta), the village of Candelo, Venice, and Ivrea. On the end credits, you are bombarded by the emphatic song sung by the Kazakh Dimas Kudaibergen, which today is very fashionable because it manages to cover more tones in his pop pieces, specially composed to show off his vocal cords.

We have read that the CD of the soundtrack and the book written by Fani together with Gea Mizzani Corio have also been released, confirming that this is an overall complex and expensive operation. Between plot, staging, and acting, the film goes beyond the limit of the sculpt, without even managing to become a trash masterpiece. Creators is just desolately, incredibly ugly.

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