-Written by Kyle Bain.
Having been incarcerated in a small, seaside prison in Venice, a woman (Zoe Saldaña) prepares for freedom. Dovecote details the final moments before a woman is released.
When you think of Venice, Italy, chances are you almost immediately think of the gondola rides that have existed for nearly one thousand years. You think of the beauty that they represent, the opportunity that they present to explore one of the most charming cities in the world. That’s how Dovecote begins, with a nameless gondolier pulling us through the city, exposing us to the breathtaking sites and the incredible history. That beauty is met with somber tones, however, juxtaposing the beauty that should fill the screen and the air. Writer Alexander Dinelaris and Writer-Director Marco Perego want to create a sense of sorrow that permeates the film, even in the most aesthetically pleasing moments.
Additionally, for the first thirteen minutes or so, and most noticeably during the gondola scene, Dovecote exists in black and white. Choosing this color palette enhances that already drab tone that exists within the film, strengthening the meaning behind the film and enticing viewers that much more. Furthermore, in the closing moments of the film, as our protagonist sits on a bench by herself, with newfound freedom, the film transitions to color. They aren’t bright or vibrant, but the film is no longer monochromatic in this moment, and, much like that unnamed protagonist, Dovecote is then filled with something of a glimmer of hope.
The cinematography almost always pulls viewers through the film, rather than guiding them. This feels incredibly intentional and it creates a sense of urgency, forcing viewers to understand the importance of what they are seeing. While the cinematography present in Dovecote is fluid and smooth, there is almost something aggressive about it, something that reminds viewers of the scenario in which we have just been thrust–and I believe that this achieved balance helps to create an overarching fluidity that spans the length of Dovecote.
Dovecote explores the idea of home and what that means to different people. It’s clear that the inmates have developed a sense of community within the walls of their prison, that somehow the place that was meant to be a place of confinement has managed to become far more meaningful.
The following is a random thought that I had while watching Dovecote, something that I struggled to fit organically into this review, but feels pertinent in the grand scheme of things:
It’s almost as if we’re being told not to be distracted by the beauty, and to understand that there is terror lurking behind the curtain. Also, maybe I’m just a cynic–as it’s abundantly possible that Perego and Dinelaris wanted us to understand the opposite: that even in the most harrowing situations beauty exists. That’s the allure of filmmaking (and art in general): it can be interpreted in a number of ways, and Dovecote is a perfect example of that.
Dovecote is a spectacular film that dives into and effectively explores the ideas of isolation, community, and the juxtapositional beauty and treachery that exists in the world around us. Through crisp, monochromatic visuals, aggressive cinematography, and spectacular acting, Dovecote comes to life in a way that everyone should be able to understand and appreciate. Dovecote is one of the best films of 2024.
Directed by Marco Perego.
Written by Alexander Dinelaris & Marco Perego.
Starring Zoe Saldaña, Marcello Fonte, Gaia Scodellaro, Marilena Anniballi, Flaure B.B. Kabore, etc.
9.5/10 = DROP EVERYTHING AND WATCH IT NOW
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