Canada We decrypted the clip of Aaron Hickey's arrival in Bologna

21:25  25 september  2020
21:25  25 september  2020 Source:   sofoot.com

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  On a décrypté le clip d'arrivée d'Aaron Hickey à Bologne © Provided by Sofoot

Because cinema critics do not have a monopoly on weird adjectives, convoluted expressions and intellectual masturbation, sofoot.com has decided to (de) encrypt the clip of Aaron Hickey's arrival in Bologna.

Sometimes seen as an abyss from which monsters are born, the unknown is really nothing but an open door. An open door to worlds located beyond pure diegesis, which replace philosophical facts. By dedicating an ambitious achievement to the arrival of an anonymous illustrious Aaron Hickey, it is such a door that the Bologna filmmakers could have opened: on the contrary, they have crossed this transcendental significance with the sclerotic temptation of the stereotype.

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OFFICIAL They thought he was a myth, they hunted high and low, they believed he would appear. Now, he's here and he's real Our Flower of Scotland #WeAreOne pic.twitter.com/4v7OipkWQ2

- Bologna FC 1909 (@ BolognaFC1909en) September 24, 2020 Opening a door to the unknown

Granting the lead role to Aaron Hickey, whose most learned and demanding observers had observed the first rather promising performances in Scotland, on the side of Edinburgh and the famous Heart of Midlothian academy, the Bologna filmmakers had made a quasi-thaumaturgical bet. It consisted in erecting between the hermetic and the famous bridge of signifieds whose inauguration was to give rise to a surrealist feeling of already seen , in order to go beyond simple hermetic media coverage.

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Bologna presents its new recruit with a plastic dinosaur

The thing has been done almost in formal terms, so that a distracted viewing suggests an exaltation of the image, or rather, a schismatic sedition between the figurative and the extra : opaque black and white makes it possible to go beyond the framework of the predictable in order to consolidate the basic principle, that of taking the leap of mystery, in the manner of Isidore Isou in his Treaty of drool and eternity , whose primary ambition was to establish a link between the universe of facts and that of the senses.

Pitfall of the real

The fundamental problem that derives from the Italian production lies, however, in the incongruous and particularly incomprehensible fact that the form of the image violently collides with the facade of the known. What the camera shows is nothing more than commonplaces, than marked out and ideal-typical territories where the noblest expectations could have commanded lesser-known references and landscapes, so to speak off the beaten track. .

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In fact, in Le Trésor des Îles Biennes , the great F.J. Ossang had achieved such an explosion by showing a desolate world where the symbols were located outside the prism of possibilities. In the film by Italian filmmakers, on the contrary, too quickly a plastic Loch Ness monster appears, pitifully complacent and ugly, whose comic significance we understand, but which comes up against the harmful violence of prosaism. Rather than opening a door to the unknown, Bologna has broken down the door to reality. Cinema transcendence, unknown to reality.

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