The Goldsmith (2022) | A Tense But Familiar Home Invasion.

Cinephobia Releasing will begin the North American Premiere on October 12th.

This Viewing was part of a Press Screening. 

Fresh from the Horror Film Fest Circuit and the lastest release of Cinephobia Releasing, today we have for you The Goldsmith (L’ORAFO), An Italian Home Invasion Thriller directed by Nascent director Vincenzo Ricchiuto. Notable Cast include Italian Veteren Actor Giuseppe Fregni and Stefania Casini, (of OG Suspiria fame), as the old couple. Gianluca Vannucci, Tania Bambaci, and Mike Cimini as the trio of robbers. It will Be Availble on VOD. 

As many other critics have pointed out in there reviews this film is a kind of reverse home invasion film comparing it to new works such as Don't Breath (2016) and a variety of invasion films from the early to mid 2000s, (everything from The Collector to The People Under the Stairs) and I will admit that there is a rather familiar feeling to this film. Many of the elements remind me of other popular Splatter films from the era. That being said as a conossiour of that very specific era of horror this film manages to keep a tense pressure throughout its first two thirds before dipping slowly into a gruesome splatter ending. I can't say it stuck the landing but the visceral blowout is enough for you to leave the metaphorical theater with your horror itch scratched. Its a fun film. 

Giving the structure of the film I would like to discuss it further so understand going from here on there will be some minor spoilers. My advice is go into this film with as little information as possible. Don't even watch the trailer. 

We begin with a very 1980s slasher cold open. Right? We have these young street urchins stealing golden candlesticks and running from an preacher before stabbing him in the confrontation. We dissolve into an opening sequence of jewerly making obviously from the perspective of the titural goldsmith. An element remeniscent of other such grimdark works such as Wes Craven's Nightmare on Elm Street (1984), Se7en (1995) and of course Coraline (2009). It's a familiar element, subtly forshadowing his role in the story but effective. The rest of the opening credits are done in these very 2000s dynamic typography. Let me explain that. In the 2000s you had a kind of animated text that existed as a 3D rendered element in the scene. The camera would flow through a city block or some other situration and flow past or otherwise interact with the title as a brectian element. Here's an Example from Scooby Doo: Monsters Unleased for a visual. This film uses a similar credit having lighting and other effects interact with the title as the camera slowly walks through a copse of woods torwards a parked car. Ultimately the structure of the opening credits is really interesting. Ricchuito has chosen a way of introducing the story that incorporates this formating in a novel way but some of the artistic choices don't neccesarily meld or they feel dated in specific ways. 

But before I spend hours describing every small detail of the plot let me discuss the three-act structure because that's one of the more interesting elements of the plot. What I mean is that this film has three distinct acts to the point that you could almost argue different genres between them. The cool kids agree that the first third begins as a standard home invasion crime story albiet with almost a black comic leaning. The robbers wear these fantastic wailing baby masks and it kindas looks like the babies are about to sneeze every couple seconds. I don't know why but I really enjoyed that. 

The second act reminds me a bit of Saulnier's seminal film The Green Room (2015), revolving around the robbers being stuck in a room as the Goldsmith taunts and reveals all of there dark dirty little secrets. It's an incredible tense part of the film and he uses this Rashoman-esque type of storytelling to progress the story. There is also an aspect of social commentary. Double Spoilers but one of the secrets is the fact that a character got an abortion and that raised a really interesting question. Is abortion legal in Italy? So the answer is yes but its very hard to get one. GP can refuse on "Personal Grounds" which means that if you want to have a legal abortion you may have to travel hundreds of miles to get one. Heres a great article by the CNN on the topic. 

This is probably my favorite part of the film and it really shows off some of the more interesting ideas that Ricchiuto has as a director. This is where he shines. 

Ultimately what fails this movie for me is the ending. If you were a naughty naughty little reader and watched the trailer after I specifically asked you not to, you know that this film ends with some kind of serial killer splatter nonsense. What ew. It's just like that one film you hate Maleviolent (2018) right? and the answer is no my dear good little viewers. 

Surprisingly, I am perfectly OK with the fact that they end this film with intense splatter torture scenes. Lets do a compare and contrast. In shitty Netflix horror film the aforementioned Maleviolent, the splatter elements come out of nowhere to wave away the plot. it's simply put an asspull. And many many other films follow suit. Often times if a film views into extreme violence it's a rock falls everyone dies situration. They needed a reason to end the film and bitches be crazy is a good enough reason. 

The Goldsmith however intended the splatter from the beginning. Perhaps taking a page from New French Extreminity films like Matrys(2008), Ricchiuto attempts a descent into madness. Beginning with slaps and insults and ending with some honestly hardcore fucked up shit. It's a jerky ride to the destination and we really slam on the breaks with the suckerpunch visuals at the last second but we get to the destination. To mince another metaphor. He may have blew out his knee but he stuck the landing. 

Overall, Ricchiuto's first film The Goldsmith is a good showing. Its a well-produced, well-acted thriller that maintains tension throughout its narrative floureshes slightly marred by its slightly vague worldbulding and twists in the third act. It may not stand out to veterens of the home invasion or splatter genres but it's an enjoyable time for those that enjoyed similar films in the past. I will be interested to see what he does in the future. 

Rating: Popcorn Film