20In religious marriages the moment of promises, the one that explains that the bond will last until the death of one of the spouses, applies to everyone except for Mirta e Robin who, in the middle of an abandoned quarry, with the adrenaline still in their bodies for a reckless car trip that could cost them their lives, decide that they will continue to love and seek each other even when their heart irremediably ceases to beat. The challenge, at this point, becomes interesting: a few moments later, due to the overdose for a drug that Robin takes for sport and that Mirta decides to try only to convince her partner to stop doing that stuff, the boys die , and it will be there that we will understand if that promise will last or it was just a nice phrase to impress the other.
Do not kill me, the second feature film directed by Andrea De Sica, former director of Baby, produced by Warner Bros. Entertainment Italia and Vivo Film e ready to land on all digital platforms starting from 21 April, it is not, as some have called it, the Twilight italiano.
Beyond the anything but rosy love story between the protagonists and the need to feed on the blood of human victims in order to survive, Do not kill me, which is loosely based on the famous novel by Chiara Palazzolo published by SEM, proceeds on a completely different track, more macabre and darker. Not even five minutes from the start we witness, in fact, one of the scenes that the cinema has often enjoyed representing to the great horror of the viewer: a girl dressed as first communion tries to get out of the niche in which she was buried because, in reality , part of her is still alive and struggling to survive, hoping that her better half will awaken like her. Mirta, played by a talented Alice Pagani, she opens her eyes trying to understand what happened to her: she sees Robin’s niche (Rocco Fasano) still sealed, and fears that in that world that has always scared her so much she will remain alone even after death, now condemned to be a wandering soul in a desperate search for happiness. The wandering soul, however, also has a great one need to feed and, despite the offer of grazing animals of which the Cullens were greedy, for Mirta, now called Luna, there is no diet that takes: to support herself, the girl needs to drink blood from a human body that is still warm and alive.
If he doesn’t, his hands begin to turn black, his skin to thin and decompose, and his energies to abandon it. All these sequences, masterfully shot by De Sica and sublime framed by the director of photography Francesco Di Giacomo, make us understand that Twilight is now light years away: Do not kill me, more than a love story, it is the survival story of a “sopramorta “, that is a teenager who died violently and returned to life in the form of a zombie, who tries to escape from the “Benandanti”, a group of men who, silently, try to free the world from the aforementioned survivors to restore the biological order of things . The dialogues in this film are almost completely superfluous: everything is entrusted to Pagani’s performance as an actress that, through the movements, the grumbles and the shuffling walks, returns a completely new character who, from a defenseless victim, soon turns into a dangerous executioner, a murderer ready to do anything to understand how to free himself from the curse in which he has fallen.
The macabre charm of the film, which relies on a slow narrative and a spectrum of details that recalls a bit the Italian horror of Bava (by the way, a round of applause at Chromatica, who has taken care of the special effects of films such as Pinocchio by Garrone e They called him Jeeg Robot by Mainetti), it is all linked to Pagani’s interpretation and to the representation of a teenager who struggles to accept her diversity until she wonders the hardest thing in the world: can she ever survive the world without her first and only boyfriend Robin? We will not tell you the ending, even if we advise you not only to let yourself be carried away by this surprising journey made of dilated pupils that become like black buttons and trusted friends (a special mention to Giacomo Ferrara, that is Spadino of Suburra, in the viola version and to Silvia Calderoni) who can change their minds at any moment, but also from an engaging soundtrack that, between Hello Darkness of the Orties e Blinding Lights of The Weeknd, also gives a pearl, Do not kill me, the song by Chadia Rodriguez sung with Alice Pagani and produced by Big Fish, which will immediately enter your head.
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