The film is about the anthropomorphic grievous gorilla Silvio Bernardi, who works in a collection bureau, and at home shoots funny minute puppet videos about the everyday life of the mustachioed uncle Herbert Herpels, like “Jeanne Dilman”. One day, Silvio is sent to shake off a debt from one of the finers, Al Reynolds. On the spot, the silent hairy Silvio learns that Al is filming a talent show in his basement. The gorilla unwittingly gets on the show and immediately forgets about her work duties, hoping to push her own hobby on TV. But Al, although quite adequate in terms of negotiations, still Silvio begins to do a little not what he would like.
There are those on whom to immediately think, whose hands this touching-good-natured infantile, but no. Silvio is the fourth directorial work of the notable actor Kentaker Audley (with Albert Birney), reminiscent in part of the films of Michel Gondry, Alfonso Gomez-Rejon and the animated series Robo Chicken, and touching on the generally sad theme of unclaimed and undiscovered potential. I think a lot of people are familiar with the feeling that the business that eventually consumed them is not exactly what they want to do in life. So the gorilla Silvio, instead of his quiet talent to captivate life suddenly turns out to be interesting to the public with his clumsiness. So, in general, the peace-loving Bernardi becomes the nail of Al’s bending show (he, again, is played by Audley) called “What Will the Monkey Break?”, from time to time smashing various fragile things in front of the camera. Yes, these aggressively stupid tricks bring him some success and probably even money, but no satisfaction. And what is sadder, talent slowly begins to bury somewhere in the bowels of a dying soul. Cinema speaks absurdly simple language, but that’s probably its beauty.
6 out of 10