Monster of Florence seems, at first glance, different thriller a detective story that outlines complex real-life events. Namely: the wave of crimes left behind by the Italian serial killer nicknamed Monster. but new true crime Netflix is so much more. Thanks to the subtext of the plot, there is an uncomfortable exploration of violence, toxic masculinity and collective paranoia. Also, the perception of sexual violence in a conservative and traditional country like Italy.
To do this, creators Leonardo Fasoli and Stefano Sollima are adapting the book. Mostro di Florence Gianluca Monastra, famous for his review of the case. But rather than simply reviewing the chronology of the murders, they turn the four-part series into a poisoned portrait of an Italy divided between superstition and modernity. The production does not seek answers, but rather exposes the moral vacuum that allowed these crimes to be committed. So, despite its cold and almost clinical tone, the story It has a hypnotic power that penetrates the consciousness of a society full of problems.
Throughout all of its episodes Monster of Florence maintains a balance between suspense and speculation, avoiding the sensationalism inherent in productions about real killers. Netflix tends to go dark; This time, however, the tension comes from ambiguity, from the inability to fully understand the monster or those pursuing it. The most frightening It’s not about the blood, but about the feeling that no one – neither the victim nor the authorities – is free from guilt.
A story that marked Italy
The plot, which develops in a non-linear manner, uses frequent jumps in time to provide context. The argument thus moves from the investigation to the background of the case, much of it dark and violent. In fact, there is no single thread here, but several layers that are revealed. between memories, rumors and silences regarding the murders.
At the center of this tangle are Stefano (Marco Bullitta) and Barbara (Francesca Olia), a couple burdened with debt and routine who decide to share their home with a tenant. A new guest, Salvatore (Valentino Mannias), becomes the catalyst for disaster. From his very first appearance, Salvatore exudes an unpleasant energy. He doesn’t have to commit atrocities on camera to be repulsive: his mere presence destabilizes everything. With their help, the series turns the case of the “monster” into a detailed study of the everyday violence that grows in the home and is disguised as normality. What begins as a social drama ultimately takes on the contours of a moral nightmare.
Step by step, Monster of Florence explores two timelines simultaneously. And this happens without any explicit indication of what time or where in Italy the story takes place. It’s a risky strategy that sometimes works like a fun puzzle and sometimes like a tedious maze. However, this confusion is also part of the discourse: the real crimes from which it originated remain unsolved, and the series embraces this void. The story moves between certainty and doubt, between documentary and fabulous, remembering in spirit. Zodiac David Fincher, albeit with a more intimate and provincial approach. What Fincher considered a journalistic obsession, Fazoli and Sollima interpret as a social disease.
Great visual section of The Monster of Florence.
Visually, Monster of Florence It’s an aesthetic with clear gothic influences. The photograph captures Tuscany, with gray skies and empty roads, looking more like a nightmare than a tourist postcard. Each frame is designed to convey unease: desaturated colors, minimal lighting, oppressive interiors. The production design faithfully recreates the Italian eighties without falling into nostalgia. Even the smallest details – cars, clothes, worn furniture – They promote a sense of authenticity.
There is one particularly revealing scene: the couple act out the final dialogue blade runner shortly before the murder. It’s a meta wink that plays with time and popular culture as well as highlights the gap between cinematic fantasy and the brutality of reality.
But the most interesting thing is the solving of the case, which still raises doubts today. Moreover, thanks to the brilliant production and elegant vision of modern evil. This distances the miniseries from the superficial treatment of other true crime works such as Monster: The Ed Gein Storywho enjoyed visual horror without questioning its ethical implications. Here, however, there is a reflection of the viewer’s gaze and his fascination with evil.A highlight that gives the production a special personality.
Source: Hiper Textual
