27/02/2023 - BERLINALE 2023: The presence of John Malkovich can’t save Robert Schwentke’s latest feature from its numerous, overwhelming flaws

John Malkovich, Louis Hofmann and Samuel Finzi in Seneca – On the Creation of Earthquakes

Robert Schwentke’s latest feature, Seneca – On the Creation of Earthquakes [+see also:
trailer
interview: Robert Schwentke
film profile], which played as a Berlinale Special Gala screening, is probably one of the most evident recent examples of a project that heads off in too many directions and relies on too many sources of inspiration, ultimately resulting in a very frustrating viewing experience, heading nowhere and not telling us anything significant.

The film is toplined by the revered John Malkovich, here playing Stoic philosopher Seneca the Younger during his last days. Schwentke’s tale opens with a scene depicting Nero (Tom Xander) rehearsing a speech with Seneca, followed by another one set in his residence, which sees the emperor flying into a rage as he senses the philosopher’s intellectual superiority.

From these first two scenes, viewers may already be able to notice some of the key features – and flaws – of this film. Firstly, a gigantic dose of suspension of disbelief is required, as the dialogue constantly combines – quite inorganically, in truth – a more “aulic” language with a more grounded, contemporary one, occasionally adding in some unexplained anachronistic elements (for example, Nero is always referred as “Mr President” and wears sunglasses). Secondly, all of the cast’s acting style is set at a very dull, declamatory tone, sometimes interspersed with screams or louder lines during some of the most agitated moments. The picture ultimately emerges as verbose and filled with philosophical ramblings, making it very hard for the viewer to follow the characters’ speeches without getting distracted. Thirdly, the camera work is generally irregular and inconsistent, as it recklessly alternates between static, rather well-framed shots and poorly crafted, shaky ones. As there is no apparent justification for such a dichotomy, the shaky shots appear as simple technical errors.

Such “weirdness” and inconsistency might have worked had it been more carefully planned, and perhaps even pushed to more extreme limits while still being regulated by some internal narrative “laws”. The clear definition of such boundaries, for example, is what makes Federico Fellini’s Fellini Satyircon a much more effective, accomplished work in comparison to Seneca. Somehow, Schwentke stops halfway down each of the paths he takes, thus creating a puzzling, redundant mix of mockumentary (there is a voice-over narrator occasionally commenting on the events unfolding on screen and Nero’s reactions), (psyhco)drama-like confrontations, horror-like moments, B-movie aesthetics and elements of absurdist comedy. This hodgepodge is particularly visible through the film’s clumsy staging of violence. Sometimes, it is rendered with over-the-top cruelty: we notice this aspect, for example, during the killing of the two children that takes place during the staging of one of Seneca’s tragedies, Thyestes. The play starts out of the blue, and the actor playing Atreus stabs and beheads the two children. This first moment looks as horrific as one would expect. Right after, we see Atreus handling a bunch of bloody bones, which seem fake and plasticky. The remains are supposed to be cooked for the macabre feast he is preparing for his brother Thyestes.

The last hour focuses on the philosopher’s and his young wife Pompeia Paulina’s (an overly emphatic Lilith Stangenberg) suicides, which follow the former’s inescapable death sentence pronounced by Nero. From that moment on, everything gets too far-fetched and too rhetorical, and the narrative pacing slows down even further.

To play the devil’s advocate, it is undeniable that making a picture that relies so heavily on existential ruminations – especially those of an Ancient Roman philosopher such as Seneca – is no easy task. Meanwhile, Malkovich’s struggles to play his part are plain to see on screen, as he tries to explain his concepts and ideas by making broad gestures and stressing too many words in his lines.

“How cinematic is all of this?” one may wonder. The complexity of Seneca as a historical figure and the sheer number of diverse characters surrounding him would have benefited from smoother writing and a more finely honed artistic vision, even without any pretence of realism. Ultimately, we keep on watching the film and ask ourselves too many questions – none of which gets a proper answer.

Seneca – On the Creation of Earthquakes was produced by Berlin-based outfit Filmgalerie 451, and co-produced by Gretchenfilm (Germany), Kasbah-Films (Morocco) and ZDF/arte (Germany). Picture Tree International is in charge of its world sales.

Photogallery 20/02/2023: Berlinale 2023 - Seneca

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Robert Schwentke, Geraldine Chaplin, John Malkovich
© 2023 Fabrizio de Gennaro for Cineuropa - fadege.it, @fadege.it