Goomba Stomp
Berlin Film Festival Film

Berlinale 2019: Gender is Horror in the Innovative ‘Normal’


Tracing gender structures from the womb to marriage, Normal shines a light on how gender is constantly reinforced in modern Italian society. Taking a panoramic view of the beautiful country, spanning from Milan to Rome, as well as from childhood to adulthood, Normal captures the absolute absurdity of gender norms with precise, thrilling clarity.

Pregnant mums train in the park. A factory makes pink plastic irons and boards for girls, fake work tools for boys. Boys race on mini-scooters, pushed on by their fathers. Adoring girls cry when they hug a YouTuber. Adele Tulli presents each image without any voiceover or judgement, as stark cuts between them explicitly set up a binary between the male world and the female one.

The preciseness of the images — starting with pregnant women exercising in a swimming pool to a marriage ceremony — create a strong sense of narrative, as if from the very start we are preconditioned to think in a certain way. Group behaviour is everything, and cinematographers Clarissa Capellini and Francesca Zonars expertly capture the way bodies coalesce into one almost ideological-looking mass. With one key exception, everything that challenges gender norms — drag artists, transgender people, or women wearing flannel shirts — is purposefully ignored. This is the heteronormative world, baby, and it’s terrifying.

NormalFor many queer people, or simply those who don’t want to play by traditional ideas of gender — i.e men who don’t mind doing the dishes or women who can change a lightbulb — Normal plays something like a horror movie. There’s the endless, disgusting pink things for girls, Muay Thai classes for boys, the pre-marriage class where women are told that they have to look after their husbands as if they are another child, and the shy young boy being told that if he wants a girlfriend he must be an alpha male. It all culminates in one of the scariest things I’ve ever seen in a documentary: an off-the-rails hen party, replete with penis cake and creepy male strippers.

For women, the horror lies in being seen as either a perfect mother or a complete whore. Priests lecture them to satisfy their husbands, while others in leather bras dance around motorcycles in full view of gawping children. Girls are approached in clubs by the beach, expected to be sexually willing, but once motherhood comes, they must also do all the cooking, cleaning, and care for the children. These stereotypes are pushed to such absurd lengths as if to force the viewer to reconsider their own patterns. Are we the directors of our own limited world?

While many elements of the film are specific to Italian life, especially some of the more fantastical imagery and the overbearing extent to which the Church plays a role in shaping society, Normal has a universal resonance. Coming in at only 70 minutes, the sheer rhythm created by these images, set to a synth-heavy score with thudding beats, creates a hypnotic effect. Credit must go for the editing team of Ilaria Fraioli and Elisa Cantelli for shaping so much diverse material into such a coherent statement. This is masterful filmmaking.

The 69th Berlin Film Festival runs February 7, 2019 – February 17, 2019. Visit the festival’s official website for more info.

Credits

Directed by Adele Tulli
Written by Adele Tulli
Music by Andrea Koch, Davide Pesola, Paolo Segat, Riccardo Spagnol
Cinematography by Clarissa Cappellani and Francesca Zonars
Edited by Elisa Cantelli, Ilaria Fraioli and Adele Tulli
Country: Italy | 2019

In Case You Missed It

‘Under the Silver Lake’ is Destined for Cult Status

Ricky D Fernandes

‘Shazam!’ Flashes Like A Wasted Opportunity

Jason Rocha

‘Pet Semetary’ is a Mostly Lifeless Revival

Patrick Murphy

Tom Watches Movies: The Original ‘Pet Sematary’ Still Terrifies After 20 Years

Thomas O'Connor

‘Dragged Across Concrete’ Leaves a Stirring, Indelible Mark

Patrick Murphy

Canadian Film Fest 2019: ‘This Is North Preston’ Lacks Any Backbone

Christopher Cross

Canadian Film Fest 2019: ‘The Dancing Dogs of Dombrova’ Celebrates its Culture

Christopher Cross

A Larry Cohen Retrospective: The Godfather of Guerrilla Filmmaking

Ricky D Fernandes

Canadian Film Fest 2019: ‘Wolves Unleashed – Against All Odds’ Lacks Significance

Christopher Cross

Leave a Comment

586 Shares
Share
Tweet
Reddit
Share
Pin
Pocket
Share