‘Does free will exist?’
The Laplace’s Demon is a 2017 Italian mystery thriller film directed by Giordano Giulivi from a screenplay co-written with Duccio Giulivi, based on a story by Silvano Bertolin, Ferdinando D’Urbano. It stars the latter three writers.
The Laplace demon is a mathematical theory, which supposes that, if someone knows the precise location and momentum of every atom in the universe, they could predict everything down to the smallest detail.
A team of scientists are invited to a remote island by a mysterious, eccentric man. The team discover a lift that leads up into the foreboding Gothic mansion perched on top of the sheer cliff edges that surround it and soon realise that they are part of a bizarre experiment themselves…
Montreal-based Fantasia Film Festival described the film thus: “The Laplace’s Demon unfolds like an all-time great Twilight Zone episode directed by the three-headed offspring of Guy Maddin, Mario Bava, and Val Lewton.”
Reviews:
” …a film that may struggle with more general audiences, but even if you feel that you know nothing about physics or literature or art, you may well still appreciate its inherent creepiness and its effectiveness as an old fashioned horror thriller. The only thing it really lacks is Vincent Price, but with a host of capable Italian actors who play their parts perfectly to type (the standout being newcomer Carlotta Mazzoncini), it has plenty going its favour.” Jennie Kermode, Eye for Film
” …the art and set design, also overseen by G. Giulvi is absolutely crucial to the film’s success. Most people would agree it is hard to pull off human-sized killer chess pieces, but Giulvi manages to do it. The ultimate implications of Laplace are depressingly scary, but unlike the instantly stale The Circle, the overall film is so smart and inventive, we really don’t mind its philosophical upshot.” Joe Bendel, J.B. Spins
“Evoking a bit of early Mario Bava-style giallo, in combination with noir sharp light and shadow, gives this film an unusual, slow burn flair. The acting style is slightly heightened, a bit of exaggeration in a particular Italian style, making the characters arguably somewhat one-dimensional, but this is not necessarily a detriment. It fits into the balance between philosophical discussion of fate and free will, and running for their lives.” Shelagh Rowan-Legg, Screen Anarchy
“The use of the model and the chess pieces seems like it should be awkward but actually works beautifully — a surprising amount of suspense can be derived from the clockwork performing its steady, impersonal duties. There’s an excellent build of tension as both pawns and characters disappear one by one, and the conversations on the independence of human thought never weigh things down. Under the monster-movie facade, it’s an intelligent film that doesn’t talk down to the audience even as it skilfully plays with the viewers’ minds.” The Movie Critic Next Door
