“Wild Tales” is an Argentinian film written and directed by Damien Zefron in 2014, and critic Peter Bradshaw called it “a delicious chocolate box made up of bad and wild tales that make you nibble on your fist with painful horror.”
Although “multi-story” films are often not preferred because they interrupt the flow that the viewer expects by moving from one story to another, or because some stories may be better than others, this film came out as the best multi-story cinematic icon ever.
He seemed very coherent, reflecting Zephron’s vision of the idea of raging anger and its unexpected consequences, in addition to his sensitivity and skill in composing the plot of his six stories in about 20 minutes “to be wrapped in a high level of biting irony that made him a sharp film all the time,” according to writer Godfrey Cheshire.
Over the course of two hours of rapid tempo, tension escalates with each new story, through which the film presents a philosophical discussion of the human psyche, how it makes a decision to respond to a specific threat or hostility, and how the chaos and violence resulting from nervous reactions illustrate the severity of human behavior and its position on justice and revenge.
From quiet to blast
Zefron used pictures of wild animals in the opening titles (Tatars), to convey an implicit warning that we will see some brutal, reckless behaviors, before his movie begins in a relatively calm manner, and we see an attractive young woman talking with her neighbor on a flight, and discovers that he knows her ex-boyfriend who was a failed musician .
From this quiet beginning, the story amplifies until it explodes, determining the pattern that subsequent stories will follow, which is to pull the carpet from under our feet little by little and keep our nerves on the edge of the abyss.
Each story begins with a normal daily event, such as the police pulling someone’s car while buying his daughter’s birthday cake, or a waitress serving a bad customer, or a bride suspected of betraying her groom.
Thus the stories differ from each other, but they share the theme of revenge and the absurdity of simple conflicts, moving from bad to worse, until they turn into a black comedy filled with “explosion and revenge and the belief that mass destruction is what will fulfill the purpose, and the feeling of euphoria losing control of things,” according to the film critic. Geoffrey McNab.
First story: Where Zephron receives us with a group of passengers on a flight, it turns out that they were all controlling the fate of a mysterious person named “Pasternak” at some point in his life, but none of them ever helped him, and if they discovered that he gathered them in this plane in a certain way to tell them that he had not He forgets the bad treatment of him in his life.
As soon as they decide to reconcile with him, the shocking surprise occurs, and we see the plane slowly approaching the camera in the light of the accelerating anxiety among the shocked victims, in one of the chilling moments.
The second story: It begins when a grim man enters an empty restaurant on the side of the road on a rainy night. The young waitress recognizes him and remembers that he is the corrupt official who destroyed her family and pushed her father to commit suicide. Her sympathetic colleague advises her to kill him, considering that “revenge is the best dish served with potatoes, eggs, ketchup and the poison. Mice, “but the waitress remains preoccupied with the expiration date of the poison, and the extent to which it affects its effectiveness in killing, until surprise occurs.
Third story: In it, the element of the class struggle becomes more evident through a bloody and zero-sum “duel” between the elegant Diego (Leonardo Sparaglia), who drives his sports car on the road, and is hampered by a rickety car of elderly contractor Mario (Walter Donado) who receives a torrent of racist insults and obscene signals that he considers the end The world, to break out the fearful aggression that no mind can imagine taking place between the two men.
And it ends in a chaotic image of two opponents who were burned alive, and the police found their charred skeletons entangled in the front of the car, embodying the point Zefron makes that “there is a very intimate relationship between the avenger and his prey, one of them cannot exist without the other,” according to Jeffrey McNab as well.
Fourth story: It is the beginning of the more extensive and complex stories and the intensity of social irony, where Ricardo Darren, the engineer of demolition explosions, stops to buy his daughter’s birthday cake, which coincides with the beginning of his marriage, and the traffic police pulls his car to stop it in the wrong place.
From here begins his existential battle with the bureaucrats, and his face turns into that of a ferocious wild animal, approaching the point of collapse and then explosion, after he believes that the only way to correct society’s mistakes is vengeful destruction.
Fifth story: It begins with a wealthy couple who are shocked that their teenage son ran over a pregnant woman while he was drunk and killed her, so the father plans with his lawyer to pay a large sum of money to a simple gardener who works for him in exchange for paying the price of his young son’s crime, so the costly and greedy claims of the capitalist man arise from the lawyer and the plaintiff General, and the police, until he finds himself between the options of giving up his wealth for the sake of his son or turning the tables on everyone and sacrificing his son.
Sixth story: And in it we witness a wedding in which class hatred is embodied in a story longer than other stories, in which the wedding celebration turns into an imaginary vengeance after the bride “Romina” (Erica Rivas) doubts that the groom has betrayed her, so that revenge begins and violence flares up in an unforgettable sequence, between horrific beginnings And amazing results in a crazy world, in which everyone is floundering under pressure on them “to become eager to do the worst for each other, and then they burst and then explode, and engage in successive battles dyed with a black comedy that bleeds”, in the words of film critic Manohla Dargis.