The tone of the various stories spans all of the way between psychological study, broad burlesque, to mood piece and horror. Some stories are more effective than others. The best in the show is the non-genre The Other Son, which is powerfully written, full of breathtaking revelations and especially with Margarita Lozanos acting, which is conducted entirely through her wonderfully pained eyes, carrying the story to nicely sober ends. Though the episode is non-horror, it does feature the wonderful shock image of a game of bowls being played with severed human heads. The Jar is a piece of broad humour, which comes with a good deal of charm, while Requiem is a slight piece that never amounts to much, although does feature one wonderfully atmospheric, almost haunted scene where the peasants conjure sound effects for the soldiers.
The two genre entries Moonstruck and the epilogue are actually the least effective. Moonstruck unfolds with a nicely ironic script and the Tavianis create some effective jolts as Erica Maria Modugno hides in the house from her husband. It is unusual to see a werewolf story done without any type of makeup appliance at all, which is commendable as doing so would have taken it into the realm of Hollywood cornball cliche and disrupted the delicate texture but the Tavianis do not seem that interested in the horror aspect and this takes a backseat to the romance which arrives at a disappointingly routine honourable ending. The epilogue, although beautifully shot and scored, is forgettable.
Despite its unevenness, Kaos is an effective and often beautiful film, painting a gentle and wistful picture of Sicilian peasant life. Like the characters, the film is a little bit of everything, and from out of it, as much as it characters and landscape, there seeps an ebulliently human warmth. Nicola Piovani conducts a beautifully sweeping score.
Epilogue in full here:-