Review: Pietro Marcello's "Scarlet" is a picture out of time
Whether documentary or fiction, Pietro Marcello's films always convey the quality of artworks lost somewhere between modernity and an undefined past. 2019's much-lauded Martin Eden took this aspect to its peak, evoking the palpable authenticity of Neorealist cinema while playing fast and loose with history in its design. That film's relationship with the past circumvents reactionary nostalgia. The anachronistic scenography suggests an atemporal milieu, breaching the porous membrane separating the narrative's period and the viewer's sense of now. This further underlined the piece's political gestures, turning retrospective into a direct address. In comparison, Scarlet represents a more conventional object though it shares many qualities with its predecessor.
Like Martin Eden, Scarlet is a literary adaptation looking back to Europe in the first half of the 20th century. The raw material is Alexander Grin's 1923 novella Scarlet Sails, once brought to the big screen by Soviet filmmaker Alexandr Ptushko. In Marcello's film, the Russian setting is transposed to rural Normandy…