La svergognata (1974)

One of the guys is balding, heavier, with wrinkles and a muscular build, the other has short brown curly hair and a fit frame. They start sitting across from each other at a table inside, dim lighting, a bottle between them — looks like an office or living room. The tension’s clear, not just talking, more like negotiating or threatening, intense eye contact, close-up shots catching every grimace. Then suddenly they’re outside, standing in front of a white building in what looks like a rural European village, daylight, wide shot showing the full confrontation. No cops or crowd, just two grown men squaring off, posturing, shoving — it escalates fast. The camera holds back, doesn’t jump around, makes it feel real, unscripted, like you’re witnessing something raw and unpredictable.