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Risorgimento (directed by Trace Walker) plunges us directly into what feels like some kind of experimental therapy. The protagonist is stuck in a dimly lit room that wouldn’t be out of place in Orwell’s Ministry of Truth. However, Lance doesn’t seem to know exactly what truths are to be uncovered. Walker continually holds the cards close to his chest with Risorgimento as we begin with little information. But when the important questions of who, what and where aren’t answered for us, we must look to fill in the blanks ourselves; every minute detail becomes a clue to the narrative. There are elements of Risorgimento that make the audience question the reality of what they are viewing. Is this perhaps a glitch in the simulation or a dropped stitch in the tapestry of time?
Lance is forced to confront scenes from the depths of his imagination and the corners of his memory. The vintage television sets reflect these cognitive apparitions in a physical and inescapable way. The first scene shown to Lance introduces Charlotte; the images ripple with sensual energy and deep connection. However, there is an obvious disparity between the video and reality as Lance maintains a flippant façade in the face of raw emotion. As he is shown more footage, Lance moves through the emotions: anger, disbelief, accusation and even acceptance of his circumstances. He addresses people not seen within the frame, creating more questions. Finally, the ghost of things yet to come visits Lance in a harsh wake up call.
Aiden Dalton is brilliant as Lance. He embodies the impenetrable outer shell of the character while also subtly revealing Lance’s inner desire for help. Emmy Rice is a perfect counterpart – maintaining the air of mystery that pervades the film, as well as a sense of being grounded in reality even when the concept itself is in question. Trace Walker’s film, Risorgimento, is a powerhouse of dystopian deception with an embedded meaning.
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