"So Fall Life" (S.T.E.P. 3) is undoubtedly the crux of the drama of a humanity shared by this phantasmagorical being exceptionally interpreted by Flavia Ghisalberti, the violent epilogue of a (post)modern way of the cross, facing death, both physical and feared. Behind the curtains and shadows, we perceive the clanking of a few machines set in motion by some zealous organizer, robbing the individual of his last moments, in an ending whose meaning escapes us, if it were to have any meaning other than pure annihilation of the rebellious spirit gnawing away at the cancer of a form of freedom. The body, for its part, fights for survival in final spasms, in which the eroticism of its movements, sometimes jerky, sometimes throbbing, and its own disappearance, between powerful life instincts and mortifying torture, intermingle. Yet nothing confirms the end of this slow, suave agony, so much so that TK Kim, as if to protect herself from any end, leaves us in a state of uncertainty, more a matter of fatality than hope. Is she herself dreading the moment of her own death?
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