“Silent Friend”: a tree observes the life around it across three different eras

‘Silent Friend’, on the other hand, is truly unusual: a film set primarily in the botanical garden of a university town in Germany, where a majestic ginkgo biloba stands. This silent witness has observed the quiet rhythms of change across three human lives for over a century. In 2020, a neuroscientist from Hong Kong, whilst exploring the minds of newborns, begins an unexpected experiment involving the ancient tree; in 1972, a young female student undergoes a profound change through the simple act of observing and connecting with a geranium; in 1908, the first woman admitted to the university discovers, through the lens of photography, the sacred patterns of the universe hidden within the humblest of plants.

The three episodes are interwoven in a parallel montage, whilst each retains its own independence, yet they are linked by an attempt to establish connections between human beings and plants. 

From women’s issues to environmentalism, via technology, there are a multitude of themes in this film, and it may seem as though there is too much going on at once; yet the film is so rich in ideas that it works, despite a running time that is undoubtedly not easy to sit through: the running time of around 150 minutes is perhaps excessive, but Enyedi still manages to deliver an audiovisual experience that is undoubtedly unconventional, challenging and fascinating in equal measure.

It is curious that the director shot the episodes set in the 20th century on two different film formats, whilst the one set during the COVID-19 pandemic was filmed digitally: it is probably the latter that is the most fascinating, offering numerous symbolic references to our desire to connect with other living beings at a time marked by isolation.

The other two aren’t always quite as striking, but the overall result is nonetheless compelling and offers plenty to think about once the film is over.  

Following its screening in the competition section at the Locarno Film Festival, “Ketticé” is now hitting cinemas. It is Giovanni Tortorici’s second film, following the success of “Diciannove”.

In his previous film, Tortorici focused on a young university student who was restless and unsure about what his future and his place in the world might actually be. *Ketticè* is a sort of symbolic prequel, as the themes are quite similar but are set within the world of sixth-formers.

Set in Palermo in 2012, the film centres on Giulio, an apathetic and dissatisfied sixteen-year-old who goes through his days without any drive: no enthusiasm for school, no prospects for the future. His encounter with Ketty, a more determined girl of the same age, offers him an escape from the monotony. The two form an exclusive friendship, a shared refuge in their search for freedom, far from the judgemental gaze of the adult world.

Drawing on his own personal experiences (it is no coincidence that the director was exactly the same age as the protagonist in the year in which the film is set), Tortorici depicts the complex period of adolescence, whilst not shying away from a certain degree of criticism of the institution of the family and a school system that ultimately risks clipping young people’s wings rather than educating them properly.

Tortorici opts for a highly flamboyant directorial style, frequently employing slow motion and eye-catching visual choices, perhaps with the aim of trying to conceal some of the narrative shortcomings that the film has.

The messages from this talented author from Palermo come across loud and clear, but there is an overall sense of repetition that somewhat dampens the reader’s engagement: it’s a shame, because all the ingredients were there to create something more impactful.