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Clerks III

In terms of age, the one of Clerks could be my older brothers. Although there is a small age difference, I have lived the whole saga ever since the 'Clerks case' broke out, that is, ever since that crazy B-movie became a cult.
I waited and lived anxiously for the second chapter, of which I report on an old article, and in the same way I waited for the third chapter.

Watching all three films, it must absolutely be said that Clerks, always manages to portray well the anxieties, problems, cravings of the generation it refers to. Another thing must also be said: Clerks III is a film you will appreciate if you are over 40 and have seen the others. Because, this is a film that uses a language, a narrative and a direction, hardly suitable for today's youth, besides being so self-referential that you have to idolise the previous two chapters to understand it.
Kevin Smith, this time, changes tone a little and throws in melancholy for the most part. He looks back at the years that were, at things past, at missed opportunities. Yes, exactly, the stuff of people past forty-five. He puts a lot of personal touches on it, and in this regard one must remember the severe heart attack that struck him in 2018 and after which he changed his life, losing 23 kg.
A heart attack that also affects one of his characters, the venomous Randal, who always works with Dante at the Quick-Stop (which had burnt down in the second film, however).
The two seem frozen in their own world. The same habits, the same couple dynamics, and the same absurd characters that frequent the place.
Jay and Silent Bob, no shortage of them, have bought the video shop to make it a shop selling THC.
The only difference is that Dante has lost the love of his life Becky (played by an always beautiful Rosario Dawson).
As I said, however, Randal one day suffers a massive heart attack, struggles between death and life and in that instant has an epiphany. And he decides to make a film. About his life. About life at the Quick-Stop.
Here begins a long and funny but also moving exercise in meta-cinema. The director of this film is Silent Bob (Kevin Smith) and the whole thing unfolds between quotations and scenes from the first film with interesting moments such as the casting (which includes many of Smith's famous friends).
Not everything actually works. Some moments seem a bit gratuitous and there are not always laughs at the jokes. But Kevin Smith, in the end, hits the mark, telling us honestly about himself and also about us.

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