Writer’s block can be a disease for some creatives, affecting them physically and psychologically. While many storytellers have a way to gain inspiration, playwright and hoarder, Mark Van Bloom (an exuberant Tim Heidecker) utilises his anecdote as a drug. His truly prized possession in his filthy New York residence are dirty clothes stained with the perfume bottle Fior Di Latte. It reminds him of his first trip to Italy with his Italian partner, Francesca (model Marta Pozzan).
Fior Di Latte concerns Mark’s attempts to finance his new play. One day, after running into a past producer for a potential investment, he discovers that Francesca took his Fior Di Latte-scented shirt and shorts into the laundry. Francesca is shrouded with Mark’s film memorabilia in his apartment with no purpose; she thinks the ordinary items would be okay to clean after Mark explains the pointless value of his collection. The absence of Mark’s clean clothes causes him to stall his new project and meet with an eclectic perfumer (a perfectly Kevin Kline), in order to get him to manufacture a Fior Di Latte-esque perfume.
Shot on pristine 35mm, Ercoli Coe’s debut feature is a quirky comedic musical that gives a throwback to classic Hollywood. Its colourful title fonts are reminiscent of MGM musicals like An American in Paris (Vincente Minnelli, 1951). There’s lightheartedness and delicacy in a film filled with gloom and self-destruction. Mark, who doesn’t know how to respect people’s boundaries, makes people uncomfortable over his eccentric artistic and logistical decisions. The haphazard auteur relies on past relationships and a special prize over 2 decades ago to fuel his canvas. Still, he takes them for granted and feels entitled to use whatever he has in order to get his Francesca-ode play off the ground. His arrogance makes him oblivious to how his toxic behaviour affects his close ones.
Though Fior Di Latte is fun in its premise, its aesthetic choices are uneven. It is evident how much Ercoli admires screwball comedies and the early stages of VFX in cinema. Yet, the production choices, like its decor and animations, don’t fully connect with the world she built. The convergence of live action and animation used in Mark’s hallucinations is not entirely effective. Though it advances Mark’s degradation as a writer, the resulting visuals feel like a redundant novelty act.
At its best moments, Ercoli illustrates the urge to succumb to procrastination with splendid humour and performances from supporting actors like Kline, Julia Fox, and Gina Gershon, who terrifically bounces off the zany Heidecker. Fior di Latte may not fully be able to suspend one’s disbelief in this singular depiction of New York City. Still, it’ll give you a rush of adrenaline and a sneak peek of independently produced theatre.
Fior di Latte premiered at Tribeca.
