“Were you dreaming?” a train conductor asks the sleeping Arthur (Josh O’Connor), a distant, temperamental Brit in Italy with little more to his name than the rumpled cream-colored…
When we talk about “movie magic,” the first thing that comes to mind is often something like the bikes achieving liftoff in “E.T.” But it applies no less to Alice Rohrwacher’s wondrous “La Chimera,” a grubbily transcendent folk tale of a film that finds its enchantment buried in the ground.
With remarkable precision, Arthur is able to point to where to dig. In one scene, he takes a small, bended branch as an instrument for his dowsing. “La Chimera,” itself, seems to emerge almost the same way — an earthy, spellbinding buried treasure with a sublime drawing power. “La Chimera” is even more beguiling and mournful. The tombaroli make a merry band, but Arthur’s plight is shadowed by death. “He was looking for a passage to the afterlife,” one of his companions says in the film, one of a handful of direct addresses.
At her crumbling villa, Arthur meets Italia , a singing student who, Flora says, is tone deaf. But she might be the sharpest observer in the film. Italia, alone, is horrified by the plundering of the graves. In other ways, she’s the embodiment of the time the tombs recall. It’s noted that the Etruscans elevated women in society — one of, though not the only, relic of the past that “La Chimera” brings forward to today.
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