Born from a lineage of fishermen, Jesmark goes out to sea every day on his luzzu, the traditional and colourful boats that give name to this story. His vessel has been in his family for generations, but the waters are not the same anymore, and neither are the laws, which means there are less fish to catch and more regulations to follow. Tied to the water like salt itself, he can’t fathom the thought of doing something else, but he’s a father and his partner Denise demands he consider moving on. With pressure mounting, selling illicit catch for a kingpin is the only thing keeping him financially afloat.
Understated in a way that would make the gods of neorealism proud, Luzzu is anchored by the alluring, underlying rage in Jesmark’s actions, his weathered face, piercing stare, and few words denote the pride he feels for his dying trade wrapped in the frustration of not being able to make a living any more. Faced with the incessant and ravaging demands of bureaucracy, he must choose. Is he still a fisherman without his luzzu? Is he tarnishing the legacy of his father and his father’s father if he gives it up? The film imbues every scene with great intentionality that feels organic to what the protagonist is undergoing internally. It doesn’t hurt that the place inherently teems with old-world beauty. A ravishing portrait of tradition in transition.
Date and Venue To Be Announced