The mood is heated. Demonstrations are taking place across France, also in front of the Paris hotel where an Italian named Giorgio is booking the bridal suite for him and his boyfriend Antonio. Hotel manager Diana doesn’t trust them and calls the police to get rid of the odd couple. Italians? Homosexuals? Criminals? In the charged atmosphere of the Hotel Occidental, little is needed for initial suspicions to be aroused.
In the late Middle Ages and the Renaissance, the figure of the fool held a firm place in society and was omnipresent in art, as he embodied the fears of Europeans in a convulsive time of great discoveries and religious controversies.
Vengeance emerges from a collaboration between Neïl Beloufa and a group of junior students from the banlieue of Paris. The failure of the film’s original process is incorporated in the final result, which reflects on the limits and challenges of artistic social practices.
