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His muddiness, which impedes the brisk pace of the documentary's opening third, is emblematic of the aftereffects of traumatic events, but doesn’t make for an easily digestible watch during the film’s middle third either.Xanthoma is a common condition wherein fatty deposits develop underneath the skin. Such as the aforementioned Parisian trip, which reads as though he went into sex work but didn’t. The actor is often opaque about what he dealt with, to the point of his experiences being indecipherable rather than easily explained. Andrésen often veers very closely to equating homosexuality with pedophilia, which should offer some pause, even if the documentary doesn’t endorse the sentiment.Īndrésen also recounts the many times adults took advantage of him: his granny who first took him to the audition the people at a Cannes afterparty at a gay bar the amphetamines given to him in Japan the disquieting patron in Paris who paraded him as a trophy. In the clips, there’s a targeting on the director’s part: at one point, he explains how Andrésen’s lost some of his beauty now that he’s slightly older. It’s here the moniker “the most beautiful boy in the world,” bestowed upon him by Visconti while in London, takes shape. While fighting an eviction notice (his apartment is described as an “environmental hazard”) and working to maintain his relationship with his girlfriend Jessica Vennberg, he thinks back on the aftermath of working on “ Death in Venice,” especially during the Cannes Film Festival. Rather his recollections often play as siloed investigations, a timbre the unraveling edit tries to piece together. Driven by Filip Leyman and Anna Von Hausswolff’s hard-charging score, Lindström and Petri's film cycles through the tragedies in Andrésen’s life, which are often more experientially connected than narratively. “The Most Beautiful Boy in the World” has a slightly fractured arrangement. And he’s looking over a view that isn’t nearly as hopeful. The present-day Andrésen, bordering on frail, with his long, grey wispy hair providing half his weight, is Friedrich’s romantic hero, but now at the other side of the mountain. There’s a sense of reflection and quiet abandonment to the work, an amber protected portrait of youth. If you’ve ever seen Caspar David Friedrich’s painting “Wanderer above the Sea of Fog,” you’ll know it’s emblematic of the romantic hero: the young man looking over the vista of cloudy mountains toward his vast unknown future.
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Now the once teen idol, a kind of Timothée Chalamet of his era, is vastly different from the naive young man in the 1970 Super 8 footage. Seeing his anxious smile, as though he’s afraid of disappointing, the natural frustration of there being no parents in the room, no grown-up willing to stop the leering audition, sets the emotional tone for the rest of the film. His nervous energy is palpable, an energy that heightens when Visconti asks him to take off his shirt. You get the sense that he’s never auditioned before. In the opening clip, the blonde-haired Andrésen walks in, and there’s a sense of melancholy to him, a forlornness not unlike a Romantic poet. Lindström and Petri have a wealth of footage from the audition to draw from. For the casting he searched Hungary, Poland, Finland, and Russia before landing in Stockholm. Similar to the composer, Visconti becomes obsessed with finding this boy. The story lives and dies with Tadzio, an ethereal beauty described as an angel of death with honey-colored hair. The Mann novel had enraptured Visconti for some years, formerly crystallizing his plans to adapt it while filming “ The Damned.” The basic plot takes place in 1911 at the Grand Hôtel des Bains on the Lido, and concerns an older composer who becomes infatuated with an adolescent Polish boy named Tadzio, an attraction the openly gay Visconti did not consider homosexual in nature. The documentary first thrives as art imitating life. The part would bring the Swedish actor fame, adulation, and adoring fans only for the ensuing noise of stardom to rupture his life, permanently. They do so by telling the story of once Swedish teen idol Andrésen, who at the age of fifteen was cast as Tadzio in Italian director Luchino Visconti’s adaptation of Thomas Mann’s novel Death in Venice. In “The Most Beautiful Boy in the World,” a heart-wrenching documentary, co-directors Kristina Lindström and Kristian Petri puncture the uneasy vein of child star building, explaining how often the practice ensnares the vulnerable.