Cannes 2016 – Critics Week
Cannes 2016 – Winner — Beatrice Sartori Award (Independent Critics) for a film that has been able to betray the expectations of those who think that cinema is only narrative exercise
Tommaso and Arturo are on the run in a remote forest. They hunt for food, trying to survive and find their way through the lush nature. It’s quiet, almost peaceful, until the sound of gunshots… Many years later, this forest has a wolf problem. It’s here where Ariane discovers a strange hole in the ground. Could she be the woman referred to in the valley’s legends? The reason Ariane ventured into that hole remains a mystery. Nothing more was ever discovered, and everyone tells the story in a different way. But all agree that Ariane surely met the wolf often talked about that few have seen.
First fiction feature from the director of award-winning doc L’ESTATE DI GIACOMO (Locarno Golden Leopard)
Notes of Lisandro Alonso, Miguel Gomes, and even Apichatpong Weerasethakul... a shapeshifter... It may or may not be a werewolf picture, and Comodin may or may not have had any destination in mind... more concerned with the film as a map itself than a route...
— Blake Williams, FILMMAKER (USA)
Rustic beauty and arcane storytelling... mind-bending... A blend of rural legends, rustic beauty and rock numbers... Happy Times Will Come Soon heralds an innovative filmmaker... dreamily diverting...
— Clarence Tsui, THE HOLLYWOOD REPORTER
Earthy folklore and artsy esoterica... Viewers can identify the themes they wish to find in the skewed reflections and missed connections that accumulate between the film’s separate, outwardly disparate parts... a study in storytelling architecture...
— Guy Lodge, VARIETY
Uncompromising artistic line governed by sensations, movement, light, sound, breaks in the narrative, and a complete rejection of any psychological (or other) explanation. But this very firm stance, teetering between fiction and documentary, does not rule out the inclusion of an underlying conceptual or intellectual layer, conveyed through elliptical clues, which turns the film into a hyperrealistic, crypto-symbolic work that may well be impenetrable for some, while others may find themselves more easily immersed as they willingly take the plunge into the unknown.
— Fabien Lemercier, CINEUROPA