Watching a film made from puzzles about one’s life hesitantly scattered pieces by pieces throughout the entire film left one feeling puzzled indeed, in a good way: we get hooked.
The Consequences of Love merely revolves around the life of Titta, an old man with seemingly boring routine. He wakes up, he walks down to a lobby in a hotel where he has been staying in for a number of years. He stays there, reading newspapers until late in the evening when he has to go back to his room to sleep.
Having an almost stationery character like Titta challenges every aspiring filmmaker to bring many additional characters whom Titta will observe, or get involved with. Surely Paolo Sorrentino, the director, follows such a rule, with an underlining bait of his past that soon catches him up. Soon, the past and the present life of Titta will tangle him up, in many ways that thrill our mind, and eyes.
The confinement of space, considering the film is almost entirely set in one location, does not confine Sorrentino from exploring unusual looks which recall any of David Fincher’s works. The carefully captured images in this film is indelible enough to stay on audience’s mind, surely I do, which actually complement the impossibly great twisted screenplay and master-class performance from Tony Servillo as Titta on his commanding presence through stoic manners.
Yet, the film moves, inexplicably.