Rotterdam Review: The Tiger Award-Winning Fiume o Morte! Offers a Historical Reenactment Full of Uncommon Wit and Vitality

      Exploring Gabriele D’Annunzio’s 16-month occupation of Fiume, a narrative vividly recounted in Igor Bezinović’s new documentary Fiume o Morte!, which won the Tiger Award, I found myself reflecting on Yukio Mishima. While D’Annunzio’s life did not conclude in a similarly dramatic fashion, both men—renowned writers and hyper-nationalists with grand military ambitions and controversial legacies—shared an affinity for the fanciful and tumultuous. Was D’Annunzio a fascist oppressor, as some in Fiume (currently Rijeka, Croatia) assert, or was he a heroic dreamer, as romantic as his poetry? A hundred years later, the verdict remains unclear.

      Bezinović delves into these contradictions with the assistance of 300 locals, some of whom play D’Annunzio himself, creating a historically insightful film full of wit and vitality. Given the involvement of many from the area and the present-day European context, the documentary is surprisingly subtle in its critique; Fiume o Morte! stays inquisitive about D’Annunzio’s motivations and even seems somewhat enamored with the audacity of his actions. A mix of fascination and conflict is among the best traits a documentary can exhibit, and this evident passion for the subject, along with Bezinović’s cinematic style, results in engaging, often humorous viewing.

      Some lives are too expansive for any single film to encapsulate, but Bezinović makes a commendable effort. D’Annunzio, born in Pescara in 1863, gained recognition as a distinguished poet and playwright in the early 20th century and later reinvented himself—as his compatriots saw it—as a national hero during World War I. Although he leaned politically to the left, the experiences of war intensified his nationalism to such a degree that when Fiume was designated part of Yugoslavia at the Paris Peace Conference, he was so furious that he gathered 186 Italian grenadiers to reclaim it. The narrative is so captivating and filled with folly and pride, it seems incredible that a significant film about it hasn't emerged before.

      This indeed bodes well for Bezinović, as it does for viewers unfamiliar with D’Annunzio’s actions, especially considering how effectively the filmmaker tells the story: Fiume is crafted as a blend of absurdist reenactments (set against the backdrop of lively streets) and a more serious approach to archival footage in the second half (where the film understandably pivots to a more traditional style). Limited film footage exists from that period; instead, Bezinović relies on D’Annunzio’s writings and an extensive collection of images captured by his photography team. He visits current sites (the film opens with scenes of the bridges destroyed by D’Annunzio’s forces) or has locals reenact military stances. Much of the film's impact comes from the reactions of passersby.

      The humor and satire are most prominent in the first half, energized by Bezinović’s engaging storytelling and the vibrant personalities of those he encounters and involves in the project. (The casting occurs in a vox-pop style on a beautiful day at a village market, where the director’s charm sets the film’s tone.) Bezinović then traces D’Annunzio’s journey from Venice to Fiume, using a fleet of trucks to represent his army and a sports car as a stand-in for his vintage Fiat. The film’s visual philosophy is encapsulated in a scene featuring a group of uniformed D’Annunzios performing energetically on a hilltop while his motorcade drives past. It's a striking image, one that any film would find challenging to match. Kudos to Bezinović and his team for successfully achieving this.

      Fiume o Morte! made its debut at the 2025 International Film Festival Rotterdam.

      Grade: B+