FRAMES CINEMA

Author: Frames Cinema

#49 Strade Perdute – L’appartamento di Billy Wilder

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🎙️ In questo quarantanovesimo episodio vi proponiamo un nuovo format, in cui andremo ad analizzare singolarmente grandi pietre miliari della Storia del Cinema. Il Film di oggi è L’Appartamento di Billy Wilder del 1960.

Buon Ascolto! 🎧

Scopri il mondo di Frames Cinema qui: https://linktr.ee/framescinema

March 15, 2024
Oscar 2024 – Tutti i vincitori

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Si è conclusa da poche ore la 96esima edizione degli Oscar e a trionfare su tutti è stato Oppenheimer di Christopher Nolan seguito da Povere Creature!, proprio come ci si aspettava, ma analizziamo meglio tutta la serata.

La cerimonia, tenutasi nel Dolby Theatre di Los Angeles, è andata in onda in Italia nella notte tra domenica 10 e lunedì 11 marzo con un importante ritorno, dopo vent’anni dall’ultima volta, della trasmissione in chiaro sulla Rai.

A condurre la cerimonia torna dallo scorso anno Jimmy Kimmel che firma così la sua quarta conduzione degli Oscar. La serata si presenta infatti simile a quella della scorsa edizione, senza grandi colpi di scena.

I premi attoriali

Si comincia con l’assegnazione del premio alla miglior attrice non protagonista che viene annunciata da Jamie Lee Curtis, vincitrice della stessa categoria nello scorso anno, e vinta da Da’Vine Joy Randolph, per il suo personaggio in The Holdovers, che si lascia andare in un commovente discorso sull’accettazione di se stessi e ai vari ringraziamenti di cui uno speciale a sua madre. A seguire il premio per il miglior attore non protagonista, annunciato da Ke Huy Quan, vinto da Robert Downey Jr. che dedica il premio alla sua “terribile infanzia”, alla moglie che ringrazia per essersi presa cura di lui come un veterinario con un cucciolo ed infine al suo avvocato che lo ha salvato da molte situazioni.

Passando ai ruoli da protagonista vediamo premiato prima Cillian Murphy per Oppenheimer che dedica il premio ai suoi parenti e all’Irlanda, suo paese di origine, lanciando infine un messaggio di pace, per poi arrivare alla migliore attrice in cui trionfa Emma Stone per Povere Creature! a scapito della “favorita” Lily Gladstone a cui la Stone dedica il premio assieme alle altre attrici candidate ringraziando poi il regista per avergli dato la possibilità di interpretare un ruolo così importante.

I trionfi internazionali

Spazio per le pellicole internazionali che trionfano nella categoria dedicata ma anche in altre ambite categorie. In primis vediamo la vittoria de Il Ragazzo e L’Airone come miglior film d’animazione portando Hayao Miyazaki a quota 3 premi Oscar ricevuti. Altri importanti trionfi sono quelli di Godzilla Minus One per i migliori effetti speciali (primo film orientale a vincere questo premio), Anatomia Di Una Caduta per la miglior sceneggiatura originale e La Zona D’Interesse per il miglior sonoro.

Infine quest’ultima pellicola diretta da Jonathan Glazer guadagna anche l’ambita statuetta per il miglior film internazionale con il regista che lancia un grande messaggio di pace vedendo il male da ambo i lati del conflitto. Niente statuetta invece per Io Capitano di Matteo Garrone.

Premi tecnici e le esclusioni

A guidare questa serie di premi troviamo proprio Oppenheimer con ben 4 statuette tra cui miglior fotografia, miglior montaggio, miglior colonna sonora e miglior regista. A seguire Povere Creature! con 3 premi tecnici tra cui miglior scenografia, migliori costumi e miglior trucco e acconciature lasciando a bocca asciutta Barbie. I grandi esclusi però sono Killers Of The Flower Moon e Maestro che tornano a casa con 0 statuette nonostante le molte nomination (10 per il film di Martin Scorsese).

Esibizioni musicali

Tra le interpretazioni per la miglior canzone spiccano quelle di Billie Eilish e Finneas O’Connell che hanno vinto l’Oscar per la categoria con il brano “What Was I Made For?” da Barbie e l’esuberante esibizione di Ryan Gosling e Mark Ronson con “I’m Just Ken” sempre da Barbie con l’inaspettata partecipazione del chitarrista Slash.

I momenti più divertenti

I pochi momenti “divertenti” della serata sono stati la presenza del cane Messi di Anatomia di una caduta (al centro di polemiche nei giorni precedenti); John Cena che compare quasi completamente nudo per un piccolo sketch; ed infine una frecciatina di Jimmy Kimmel a Donald Trump che aveva criticato il conduttore in diverse occasioni.

La statuetta più ambita, ovvero quella al miglior film, è stata presentata da Al Pacino che annuncia la vittoria di Oppenheimer che trionfa definitivamente in questa edizione portandosi con sé un gran consenso del pubblico.

Varie polemiche

Come ogni anno gli Oscar portano molte polemiche tra il pubblico sia nel periodo precedente alla cerimonia che successivo. Quest’anno non è da meno con persone che si lamentavano della non candidatura di Greta Gerwig e Margot Robbie, rispettivamente come miglior regista e miglior attrice, gridando allo scandalo senza però considerare le altre meritate candidature al femminile. Queste polemiche svaniscono con la cerimonia dopo la vittoria di 6 donne nelle categorie generali (quindi senza contare quelle riservate ad un solo sesso), un grande passo rispetto ad altre edizioni.

Un’altra piccola polemica è la vittoria della Stone rispetto alla Gladstone anche se questa è meno sentita data l’incredibile bravura di entrambe le attrici

Ma adesso arriviamo al sodo elencando tutti i candidati e i vincitori degli Oscar 2024:

Miglior film

American Fiction

Anatomia di una Caduta

Barbie

The Holdovers

Killers Of The Flower Moon

Maestro

Oppenheimer

Past Lives

Povere Creature!

La Zona D’Interesse

Migliore regista

Justine Triet – Anatomia di una Caduta

Jonathan Glazer – La Zona D’Interesse

Yorgos Lanthimos – Povere Creature!

Christopher Nolan – Oppenheimer

Martin Scorsese – Killers Of The Flower Moon

Miglior attore protagonista

Bradley Cooper – Maestro

Colman Domingo – Rustin

Paul Giamatti – The Holdovers

Cillian Murphy – Oppenheimer

Jeffrey Wright – American Fiction

Miglior attrice protagonista

Annette Bening – Nyad

Lily Gladstone – Killers Of The Flower Moon

Sandra Hüller – Anatomia di una Caduta

Carey Mulligan – Maestro

Emma Stone – Povere Creature!

Miglior attore non protagonista

Sterling K. Brown – American Fiction

Robert De Niro – Killers of the Flower Moon

Robert Downey Jr. – Oppenheimer

Ryan Gosling – Barbie

Mark Ruffalo – Povere creature!

Miglior attrice non protagonista

Emily Blunt – Oppenheimer

Danielle Brooks – Il colore viola

Jodie Foster – Nyad

America Ferrera – Barbie

Da’Vine Joy Randolph – The Holdovers

Miglior sceneggiatura originale

Anatomia di una caduta – Justine Triet, Arthur Harari

The Holdovers – David Hemingson

Maestro – Bradley Cooper, Josh Singer

May December – Samy Burch, Alex Mechanik

Past Lives – Celine Song

Miglior sceneggiatura non originale

American Fiction – Cord Jefferson

Barbie – Greta Gerwig, Noah Baumbach

La zona d’interesse – Jonathan Glazer

Oppenheimer – Christopher Nolan

Povere creature! – Tony McNamara

Miglior film internazionale

Io, Capitano – Matteo Garrone (Italia)

Perfect days – Wim Wenders (Giappone)

La società della neve – Juan Antonio Bayona (Spagna)

The Teachers’ Lounge – İlker Çatak (Germania)

La Zona d’interesse – Jonathan Glazer (Regno Unito)

Miglior film d’animazione

Il Ragazzo e l’Airone – Hayao Miyazaki

Elemental – Peter Sohn

Nimona – Troy Quane, Nick Bruno

Robot Dreams – Pablo Berger

Spider-Man: Across the Spider-Verse – Joaquim Dos Santos, Kemp Powers, Justin K. Thompson

Miglior fotografia

El Conde – Edward Lachman

Killers of the Flower Moon – Rodrigo Prieto

Maestro – Matthew Libatique

Oppenheimer – Hoyte Van Hoytema

Povere creature! – Robbie Ryan

Miglior montaggio

Anatomia di una caduta – Laurent Sénéchal

The Holdovers – Kevin Tent

Killers of the Flower Moon – Thelma Schoonmaker

Oppenheimer – Jennifer Lame

Povere creature! – Yorgos Mavropsaridis

Migliori effetti visivi

The Creator

Godzilla Minus One

Napoleon

Mission: Impossible – Dead Reckoning (Parte Uno)

Guardiani della galassia vol. 3

Miglior sonoro

Maestro

Oppenheimer

La zona d’interesse

Mission: Impossible – Dead Reckoning

The Creator

Miglior colonna sonora

American Fiction – Laura Karpman

Indiana Jones e il quadrante del destino – John Williams

Killers of the Flower Moon – Robbie Robertson

Oppenheimer – Ludwig Göransson

Povere creature! – Jerskin Fendrix

Miglior canzone originale

“It never went away” da American Symphony – Jon Batiste, Dan Wilson

“I’m Just Ken” da Barbie – Ryan Gosling, Mark Ronson, Andrew Wyatt

“What was I made for?” da Barbie – Billie Eilish, Finneas O’Connell

“The Fire Inside” da Flamin’ Hot – Diane Warren

“Wahzhazhe” da Killers of the Flower Moon – Scott George

Miglior scenografia

Barbie – Sarah Greenwood, Katie Spencer

Killers of the Flower Moon – Jack Fisk, Adam Willis

Napoleon – Arthur Max, Elli Griff

Oppenheimer – Ruth De Jong, Claire Kaufman

Povere creature! – Shona Heath, Zsuzsa Mihalek, James Price

Miglior trucco e acconciature

Golda

La società della neve

Maestro

Oppenheimer

Povere creature!

Migliori costumi

Barbie – Jacqueline Durran

Killers of the Flower Moon – Jacqueline West

Napoleon – Janty Yates, David Crossman

Oppenheimer – Ellen Mirojnick

Povere creature! – Holly Waddington

Miglior documentario

Bobi Wine: The People’s President

The Eternal Memory

20 Days in Mariupol

Four Daughters

To Kill a Tiger

Miglior cortometraggio

The After

Invincible

The shepherd

Strange way of Life

The Wonderful Story of Henry Sugar

Miglior cortometraggio documentario

The ABCs of Book Banning

The Barber of Little Rock

Island in Between

The Last Repair Shop

Nǎi Nai & Wài Pó

Miglior cortometraggio animato

Letter to a pig

Ninety-Five Senses

Our Uniform

Pachyderme

War is Over! Inspired by the Music of John & Yoko

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Michahel Pierdomenico,
Redattore.

March 11, 2024
Razzie Awards 2024 – “Trionfano” Winnie the Pooh horror e Megan Fox

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La scorsa notte sono stati annunciati i vincitori dei Razzie Awards 2024, gli anti-Oscar, come da tradizione assegnati solo un giorno prima dei ben più prestigiosi Academy Awards.

I premi al peggio dell’industria cinematografica quest’anno hanno trovato il loro favorito in Winnie the Pooh: sangue e miele, horror con protagonista il simpatico orsetto Disney i cui diritti di utilizzo sono decaduti dando vita a questo strano film, vincitore di ben 5 Razzie su 10 nomination. Tra le vittorie ci sono anche quella a peggior film e peggior regia a Rhys Frake-Waterfield, che starebbe già lavorando al sequel.

Grande serata anche per Megan Fox, premiata sia come peggior attrice protagonista per il crime thriller Johnny e Clyde che come non protagonista per I mercenari 4 – Expendables. Quest’ultimo frutta anche a Sylvester Stallone un Razzie come peggior attore non protagonista.

Il Razzie Redeemer Award, premio assegnato a chi ha riscattato la propria carriera a fronte di numerosi fallimenti precedenti, quest’anno è stato vinto da Fran Drescher, in Italia famosa protagonista della sitcom La tata, che si è rivelata un’ottima leader del sindacato degli attori durante lo sciopero del 2023.

Tutti i premi

Peggior film – Winnie the Pooh: sangue e miele

Peggior regista – Rhys Frake-Waterfield, Winnie the Pooh: sangue e miele

Peggiore sceneggiatura – Winnie the Pooh: sangue e miele

Peggior attrice – Megan Fox, Johnny e Clyde

Peggior attore – Jon Voight, Mercy

Peggiore attrice non protagonista – Megan Fox, I mercenari 4 – Expendables

Peggiore attore non protagonista – Sylvester Stallone, I mercenari 4 – Expendables

Peggior coppia – Pooh & Pimpi nei panni dei killer assetati di sangue, Winnie the Pooh: sangue e miele

Peggior prequel, remake, rip-off o sequel – Winnie the Pooh: sangue e miele

Redeemer Award – Fran Drescher, “per la sua brillante guida del sindacato degli attori attraverso il prolungato sciopero del 2023 con una conclusione positiva”

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Enrico Borghesio,
Redattore.

March 11, 2024
Coreografi e Stunt Coordinators sono figure importanti e si meritano finalmente l’Oscar

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Una recente notizia dal mondo dello spettacolo è l’introduzione da parte dell’Academy di una nuova categoria agli Oscar: a partire dal 2026 verrà assegnato il premio per il miglior casting. Una notizia per cui gioire, ma con l’amaro in bocca nel momento in cui si pensa alla mancata opportunità di prendere due (anzi tre) piccioni con una fava.

Oltre al casting director (se ci riflettiamo in gran parte responsabile di tutte le vittorie nelle categorie attoriali dal 1929 a oggi), è ora di riconoscere l’importanza di figure come i coreografi e gli stunt coordinators. A primo impatto possono sembrare figure specifiche, circoscritte a determinati generi come i musical nel primo caso e il film d’azione nel secondo. Caratteristica delle categorie degli Oscar è però quella di essere indipendenti dalla categorizzazione in generi: una performance più drammatica e silenziosa come quella di Lily Gladstone ha le stesse possibilità di vittoria della performance più comica ed estroversa di Emma Stone. Se fosse questo il caso, dedicare una categoria attribuita a un determinato genere avrebbe poco senso.

In realtà una categoria dedicata a coreografi e stunt coordinators sarebbe meno specifica e circoscritta di quello che potremmo mai immaginare. Avreste mai dato importanza, per esempio, alla figura del coreografo in Dune Parte 2 piuttosto che a alla figura dello stunt coordinator? Mentre quest’ultima figura è di ovvia importanza (basti pensare al duello finale che rappresenta il climax dell’intera pellicola), il coreografo di Dune Parte 2 ha avuto il compito di dedicarsi alla “danza della sabbia”. Per quanto possa trattarsi di un ruolo di minore importanza che va a curare un minimo particolare del film, l’impatto che ha sullo spettatore è di notevolissima importanza. Optare per un movimento sincronizzato dei due protagonisti nel momento in cui sono in fase di conoscenza e avvicinamento rappresenta molto più di un semplice passo di danza e pregna di significato un movimento altrimenti utile solamente a un abbellimento del world building tanto amato dai nostri occhi. Il coreografo è lì per un motivo specifico, come lo è in pellicole che non potrebbero allontanarsi di più dal genere del musical (Titane, Fresh e Megan sono solo alcune delle recenti pellicole horror che hanno adoperato questa figura). Siamo abituati a immaginarci la figura del coreografo come al protagonista di All That Jazz e quindi ad associarlo alla musica e alla danza nel senso più tradizionale del termine, mentre è ora di renderci conto che si tratta di un oratore che si serve del linguaggio più universale a noi conosciuto.

Allo stesso modo siamo abituati a percepire la figura dello stunt coordinator: per quanto esso abbia piena libertà espressiva in film come John Wick 4, facciamo caso a come il novanta per cento dei film (nessuna esagerazione) faccia effettivamente uso di questa figura. Greta Gerwig in Lady Bird, per fare un esempio lontano dal genere stereotipato a cui associamo la figura, inizia la caratterizzazione della protagonista dal momento in cui decide di gettarla dalla macchina in movimento dopo un’accesa discussione con la madre. Se un film come Lady Bird fa uso di questo dipartimento, capiamo ben presto che si tratta di un linguaggio filmico universale, e come tale andrebbe riconosciuto. Si tratta dunque di categorie non limitate a un solo genere, unica antitesi che farebbe decidere all’Academy di non includere le due nuove categorie.

Se cerchiamo tra le interviste ai membri dell’Academy le motivazioni dietro alla reticenza dei confronti di questo cambiamento, le risposte sono vaghe e mal supportate. Qualcuno parla del fatto che si tratta di categorie che non attirano pubblico. Eppure la stessa cerimonia degli Oscar si serve di un coreografo per mettere in piedi lo show che sperano attiri tanti spettatori. Non è forse ironico? Altri parlano di mancata organizzazione, nel senso che bisognerebbe andare a cercare determinate figuri competenti in grado di votare queste determinate categorie che al momento non fanno parte dell’Academy. Che cosa si aspetta allora? È proprio ora, in quest’era post-covid, che c’è bisogno di riconoscere questi sottogeneri. Per quanto un musical e un film d’azione non abbiano a che fare nulla l’uno con l’altro, si tratta in entrambi i casi di genere che hanno dimostrato di essere in grado di riportare gli spettatori in sala. Da Top Gun Maverick fino al più recente Barbie, che di musicale ha moltissimo senza appartenere alla categoria del musical, si tratta di film che fanno dei coreografi e degli stunt coordinators il loro fiore all’occhiello. Ne riconoscono l’importanza, ma l’Academy sembra riconoscere più gli effetti nel complesso piuttosto che le figure responsabili nello specifico. È l’azione, il movimento, in poche parole il grande movimento di corpi organizzato a fare i grandi numeri al box-office, necessari al sostentamento di questa importante insignificante arte che chiamiamo cinema. Forse è ora di cambiare.

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Lara Ioratti,
Redattrice.

March 10, 2024
Recensione American Fiction – Satira e paradosso dell’Occidente di oggi

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Verso il finale di American Fiction, una fra i giurati di un importante premio letterario afferma con convinzione «Credo che dovremmo davvero ascoltare la voce dei neri in questo momento». L’ironia è nel paradosso, ossia nel fatto che, con questa decisione, i giudici bianchi stiano bocciando l’opinione di due scrittori neri nella giuria.

La dramedy di Cord Jefferson candidata a 5 premi Oscar è sostanzialmente una satira di come il politically correct indirizzi l’industria letteraria (e cinematografica), eppure è molto più complessa di così.

Thelonious ‘Monk’ Ellison è un autore di romanzi mitologici eruditi, che tuttavia non riesce a pubblicare il suo ultimo romanzo perché non è abbastanza nero. Particolarmente irritato dall’ipocrisia della società bianca americana, scrive di getto il romanzo più ruffiano e stereotipato che gli riesca sul mondo afroamericano. L’operazione, intesa dall’autore come una presa in giro, viene inaspettatamente accolta con entusiasmo ed ammirazione, e Monk l’accetta per far fronte alle difficoltà economiche della famiglia.

We’s Lives in Da Ghetto: una finzione americana

Fa un ottimo lavoro tutto il cast, dai protagonisti ai personaggi più piccoli, che sono caratterizzati eccezionalmente al dettaglio. Jeffrey Wright in particolare offre una grande interpretazione, senza mai esagerare. Anzi, dà il meglio quando non pronuncia battute, attraverso reazioni ed espressioni messe in risalto da un montaggio sempre brillante nelle circostanze più surreali: insieme agli altri giudici del premio letterario, negli scambi caustici con il fratello e la sorella, con gli editori e il produttore cinematografico pazzi del suo libro.

Cord Jefferson si cimenta per la prima volta alla regia di un lungometraggio, e se la cava bene, grazie soprattutto alla solida sceneggiatura di cui è autore, adattando il romanzo del 2001 Erasure, già a sua volta metaletterario come viene trasposto nel film. Pure il titolo «American Fiction» è azzeccatissimo, riflettendo sia il genere letterario che l’esperimento di finzione sociale perpetrato da Monk con insperato successo.

Panoramiche, dettagli, brevi momenti riescono anche a inquadrare atmosfere che sembrano uscite dai racconti di Raymond Carver o dai dipinti di Edward Hopper, pennellando un’estetica di suggestione statunitense. Sono quadri genericamente americani ed eruditi, le ambientazioni ideali nelle quali uno scrittore come Monk vorrebbe trovare spazio, ma è costretto a camminare a testa bassa, guardarsi intorno circospetto, fingere uno slang pretenziosamente limitato al ghetto.

Il protagonista non riesce a vendere il suo manoscritto Persiani, ad un certo punto si parla di un suo romanzo precedente intitolato Le Rane: è evidente che Monk attinga alla letteratura greca per le sue trovate letterarie. Non sembra casuale, visto come l’antichità mediterranea stia venendo progressivamente emarginata dai college americani nel mondo reale, perché non sufficientemente rappresentativa delle diversità secondo i parametri della società contemporanea.

F*** (the system): che cosa non funziona oggi

American Fiction è un film delicato di cui parlare, per via di tutte le implicazioni culturali che inchiodano l’occidente con le sue ipocrisie. Solo tra queste righe, già rischiamo di scivolare nel commentario caustico che la pellicola di Cord Jefferson propone, approvandone il ritratto. Ha un che di simile al recente Dream Scenario con Nicolas Cage nel valutare cinicamente l’andamento della civiltà politicamente corretta, ma è senz’altro più focalizzato nel raccontare la storia dal punto di vista di uno scrittore nero.

Pur proponendo una riflessione consistente in maniera adeguata, questo saggio cinematografico non è però nemmeno immune dall’accusa di essere ruffiano, a partire dal fatto che non sa prendere decisioni ferme in vari punti decisivi dello svolgimento: non ha un solo finale ma tre, non fornisce una morale universale ma diverse e anche contraddittorie. Eppure questi non sono errori, ma precise scelte stilistiche e metaletterarie che riflettono le uniche vie che un afroamericano può intraprendere nel mondo della produzione artistica.

Se la narrazione del popolo nero dev’essere per forza ruffiana per essere ricevuta dalla società statunitense, American Fiction accetta di esserlo. Condanna persino il suo protagonista, benché paresse l’unico baluardo di buonsenso in un mondo privato di certezze etiche. Ci sono divergenze anche tra due scrittori neri, Monk e il personaggio di Issa Rae, perché in fondo non esiste una sola e incontestabile verità.

Il problema, infatti, come denuncia il film, sta nell’occhio del pubblico contemporaneo, che pretende di leggere il mondo solo bianco o nero, limitando le possibili espressioni artistiche degli afroamericani ad autoritratti di gente emarginata e disperata. Quindi come deve comportarsi un autore? Assecondare gli stereotipi abbracciando un successo garantito o rinnegarli a costo di passare inosservato?

Così come l’universo che tratta, è scivoloso cercare di individuare una lettura univoca di American Fiction, un film che sicuramente racconta con efficacia, attraverso la satira delle strutture commerciali presenti, i paradossi concettuali dell’occidente ripulito degli ultimi decenni.

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Edoardo Borghesio,
Redattore.

March 10, 2024
Recensione Un altro Ferragosto – Paolo Virzì tra passato e presente

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Paolo Virzì ci riporta sull’isola di Ventotene, dove due famiglie molto diverse tra loro (ma con anche molte cose in comune) si scontrano sullo sfondo di un matrimonio che ricorda da vicino quello dei Ferragnez. Sono passati quasi trent’anni da Ferie d’agosto, forse non si sentiva proprio il bisogno di un sequel, eppure i nostri personaggi hanno avuto un’altra possibilità. “La casa è un po’ cambiata” ma loro sono sempre gli stessi, giusto?

L’estate del 2023 a Ventotene è particolarmente animata: l’isola è infatti stata scelta come location per celebrare il matrimonio di Sabrina, influencer famosa particolarmente legata alla casetta bianca dove l’avevamo già vista passare le vacanze di agosto da ragazza tanti anni prima. La casa bianca si è riempita di persone, tutte più o meno emozionate per le nozze della giovane. A pochi metri di distanza, nella casetta rosa, c’è invece il giovane imprenditore Altiero, in attesa dei suoi ospiti: tra loro suo padre Sandro, molto malato, a cui il figlio spera di regalare un’ultima vacanza con gli amici di sempre nel posto che più ama al mondo. Similmente a ciò che era successo in Ferie d’agosto, non ci vorrà molto tempo perché le due famiglie entrino in conflitto tra di loro. I preparativi per il matrimonio sono ingombranti, rumorosi, caotici, e il motivo scatenante del contrasto ha a che fare con una certa memoria storica a cui Sandro, giornalista e militante di sinistra, è profondamente connesso.

L’intento del film è un po’ quello di trasportare i conflitti generazionali e politici di Ferie d’agosto in un contesto moderno, inserendo tematiche attuali e modellando il tutto ai giorni nostri: peccato che la modernità qui sia stata tradotta in smartphone, sigarette elettroniche ovunque e vaghi riferimenti alla pandemia. Se lo scopo era quello di ironizzare sull’essere invecchiati, non tutto è andato come previsto. E così in Un altro ferragosto, la parola “altro” sta quasi a indicare un sentimento di stanchezza e di esasperazione, un po’ come dire “Dobbiamo davvero farci un altro ferragosto laggiù?”

Conflitti e implicazioni politiche

Il discorso politico messo su da Virzì è molto simile a quello in Ferie d’agosto, in cui il conflitto tra le due famiglie nasce da un incidente che coinvolge un giovane immigrato sulla costa dell’isola. Qui lo scontro esplode in occasione delle preparazioni al matrimonio, durante le quali viene abbattuto un rudere che si rivela essere stato un luogo importantissimo per gli antifascisti italiani che erano stati confinati su Ventotene nel 1943 (tra cui anche Pertini). Sandro, quello che un po’ possiamo identificare come il patriarca della famiglia nella casa rosa, non fa altro che ricordare e raccontare quel buio periodo della storia italiana; non è difficile capire come possa sentirsi di fronte a un’offesa del genere per di più attuata per il solo scopo di celebrare un matrimonio. Dall’altra parte, famiglia e amici di Sabrina e del promesso sposo Cesare, sembrano non capire il significato della loro azione (o forse non vogliono capire), e preferirebbero chiudere i contrasti “a tarallucci e vino”. A loro non interessa conoscere la storia dei militanti di sinistra oppositori al regime fascista, non in questo giorno di festa. E qui chi ha ragione?

Una riflessione su entrambe le parti del conflitto e sulle loro ragioni sarebbe stata molto interessante da sviluppare nella seconda parte del film, e in parte ci si riesce, ma non con la stessa forza e profondità che avevamo visto in Ferie d’agosto. Non che il motivo scatenante della trama sia più debole, è lo svolgimento a non essere sempre perfetto. La chiara critica alle tendenze degli influencer a spettacolarizzare ogni aspetto della propria vita sarebbe potuta essere sviluppata più accuratamente, considerano l’attualità della tematica soprattutto dopo il caso Ferragnez. Qui la riflessione si ferma sui personaggi di Sabrina e Cesare, a tratti inutilmente stereotipati, e finisce per assumere un atteggiamento giudicante nei loro confronti. L’influencer è una categoria che nel periodo attuale ha fatto sorgere numerose questioni, ma qui la professione viene quasi ridicolizzata, andando ad ammazzare la critica nel momento in cui maggiormente poteva essere approfondita. Non aiuta il fatto che il finale risulta leggermente affrettato e lascia alcune domande in sospeso sul futuro di determinati personaggi.

Non stiamo parlando di un disastro, ci troviamo comunque di fronte a un regista consapevole, con un regia studiata e una sceneggiatura che può strappare qualche sorriso di tanto in tanto facendo riflettere su tematiche scomode, tuttavia siamo ben lontani (purtroppo) dai tempi de Il Capitale Umano e La pazza gioia. Non che la tragicità non sia affatto presente, ma non colpisce come Virzì era stato in grado di fare in passato. Il risultato è una commedia godibile, con personaggi che ritroviamo dopo tanti anni e che scherzano sull’essere invecchiati, ma che non riescono a fare di questa nuova era il loro punto di forza. Andate in sala senza troppe pretese, anche solo per godervi un fantastico Silvio Orlando!

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Renata Capanna,
Redattrice.

March 9, 2024
Film al cinema Marzo 2024 – 11 consigli
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Lupin III – Il castello di Cagliostro
- Regista: Hayao Miyazaki
- Genere: Animazione, avventura
- Anno: 1979
- Paese: Giappone
- Durata: 100 minuti
- Data di uscita: 04 marzo 2024
- Distribuzione: Nexo Digital
- Trama
Drive-Away Dolls
- Regista: Ethan Coen
- Genere: Commedia, Thriller
- Anno: 2024
- Paese: USA, Gran Bretagna
- Durata: 84 minuti
- Data di uscita: 07 marzo 2024
- Distribuzione: Universal Pictures
- Trama
Memory
- Regista: Michel Franco
- Genere: Drammatico
- Anno: 2023
- Paese: USA, Messico
- Durata: 100 minuti
- Data di uscita: 07 marzo 2024
- Distribuzione: Academy Two
- Trama
Totem – Il mio sole
- Regista: Lila Avilés
- Genere: Dramma
- Anno: 2023
- Paese: Messico, Danimarca, Francia
- Durata: 95 minuti
- Data di uscita: 07 marzo 2024
- Distribuzione: Officine UBU
- Trama
DogMan
- Trailer
- Regista: Luc Besson
- Genere: Drammatico
- Anno: 2023
- Paese: Francia, USA
- Durata: 114 minuti
- Data di uscita: 12 ottobre 2023
- Distribuzione: Lucky Red
Un altro Ferragosto
- Regista: Paolo Virzì
- Genere: Commedia
- Anno: 2024
- Paese: Italia
- Data di uscita: 07 marzo 2024
- Distribuzione: 01 Distribution
- Trama
Inshallah a Boy
- Regista: Amjad Al Rasheed
- Genere: Dramma
- Anno: 2023
- Paese: Giordania, Francia, Arabia Saudita, Qatar
- Durata: 113
- Data di uscita: 14 marzo 2024
- Distribuzione: Satine Film
- Trama
La Terra Promessa
- Regista: Nikolaj Arcel
- Genere: Drammatico, Storico
- Anno: 2023
- Paese: Danimarca, Norvegia
- Durata: 120 minuti
- Data di uscita: 14 marzo 2024
- Distribuzione: Movies Inspired e Circuito Cinema Distribuzione
- Trama
Kung Fu Panda 4
- Regista: Mike Mitchell
- Genere: Animazione, Avventura
- Anno: 2023
- Paese: USA
- Durata: 94 minuti
- Data di uscita: 21 marzo 2024
- Distribuzione: Universal Pictures
- Trama
May December
- Regista: Todd Haynes
- Genere: Dramma, Sentimentale
- Anno: 2023
- Paese: USA
- Durata: 113 minuti
- Data di uscita: 21 marzo 2024
- Distribuzione: Lucky Red
- Trama
Quarto Potere
- Regista: Orson Welles
- Genere: Dramma
- Anno: 1941
- Paese: USA
- Durata: 120 minuti
- Data di uscita: 24 marzo 2024
- Distribuzione: iWonder Classics
- Trama
Priscilla
- Regista: Sofia Coppola
- Genere: Dramma, Biografico
- Anno: 2023
- Paese: USA
- Durata: 113 minuti
- Data di uscita: 27 marzo 2024
- Distribuzione: Vision Distribution
- Trama
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Rosario Azzaro,
Caporedattore.
March 4, 2024
Il Superman di James Gunn – Annuncio inizio delle riprese e nuovo logo

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Il 29 febbraio non è una giornata come le altre, tanto vale renderla speciale: James Gunn ha dunque annunciato l’inizio ufficiale delle riprese del suo nuovo film su Superman con David Corenswet nei panni dell’eroe kriptoniano.

Gunn ha pubblicato sui suoi account social anche il logo ufficiale di Superman nel film (ispirato al fumetto Kingdom Come) e annunciato che il titolo ufficiale non è più Superman: Legacy, ma solo Superman. Come spiegato nel post di accompagnamento, una volta consegnata la versione finale della sceneggiatura questa sembrava la scelta più sensata.

La cosa più straordinaria, secondo il regista e sceneggiatore del film nonché nuovo demiurgo del DC Universe insieme al produttore Peter Safran, è che sia solo una straordinaria coincidenza quella per cui la fotografia principale inizi proprio il 29 febbraio, che nei fumetti è il compleanno di Clark Kent.

Per stuzzicare ulteriormente i fan, lo stesso James Gunn ha condiviso sui social un TikTok dell’attrice Rachel Brosnahan (La fantastica signora Maisel), interprete di Lois Lane, registrato assieme al nuovo Clark Kent David Corenswet (Pearl) e Nicolas Hoult (Renfield), già calvo per diventare Lex Luthor, accompagnati dal tema di Superman del 1978.

Ricordiamo che il nuovo DC Universe prevede che alcune narrazioni rimangano collaterali sotto l’etichetta di Elseworld (Joker: Folie à Deux previsto per ottobre 2024 e The Batman – Parte II a ottobre 2025), mentre le principali si riazzereranno a partire proprio dal nuovo film su Superman, la cui uscita è prevista per luglio 2025.

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Edoardo Borghesio,
Redattore.

March 2, 2024
Recensione Dune parte due – Cronache di Muad’Dib: capitolo secondo

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A tre anni dal primo film tratto dall’opera fondamentale (nel campo dello sci-fi letterario) di Frank Herbert, Dune: Parte 2 riprende esattamente dove ci aveva lasciati: sul pianeta desertificato Arrakis, al fianco di Paul Atreides (Timothée Chalamet) e sua madre Jessica (Rebecca Ferguson) appena unitisi, dopo lo sterminio della loro casata, al popolo Fremen, nativi del luogo in lotta da decenni con la malvagia famiglia Harkonnen che governa col pugno di ferro il pianeta.

L’apertura di questo seguito riprende evidentemente la struttura del primo film: in entrambi, prima ancora di vedere il logo della casa di distribuzione sentiamo una frase pronunciata in una lingua misteriosa, a cui fa seguito una narrazione femminile ed infine una visione di Paul immerso nel sonno.

Oltre ad anticipare alcuni elementi importanti per la narrazione (i personaggi femminili coinvolti sono Chani e la principessa Irulan -interpretati da Zendaya e Florence Pugh rispettivamente-, figure speculari nella vita del protagonista; l’importanza dei sogni e delle premonizioni viene stabilita, così come l’elemento della narrazione della Storia attraverso terze persone), il prologo ci comunica sin da subito la propria dipendenza dal primo Dune. Questo viene così a configurarsi ancora di più come un lungo preambolo fondamentale per la visione di ciò che seguirà: questo film più che un seguito va considerato un vero e proprio secondo capitolo della stessa storia.

Dalla carta al grande schermo

Come adattare un romanzo inadattabile? Il Dune di Herbert è un romanzo di intrighi politici e manovre interne che fa molto affidamento sui pensieri dei personaggi e su discussioni di tipo strategico e filosofico, lasciando spesso il grosso dell’azione al di fuori della pagina.

Era un’impresa davanti al quale il regista Denis Villeneuve, erede di una tradizione di adattamenti non riusciti (ricordiamo il progetto monstrum di 14 ore mai realizzato di Jodorowsky, e il Dune rinnegato di David Lynch) si era già trovato di fronte. Impresa che al netto di alcune necessarie differenze nel passaggio da libro a schermo gli era già riuscita nel 2021, e che per nostra fortuna anche in questo caso, con cambiamenti più radicali, risulta per lo più un successo.

Un cambiamento particolarmente rilevante riguarda la maniera in cui si è deciso di portare su schermo il personaggio di Alia, sorella di Paul. Nel film di Villeneuve questa influenza in maniera molto più indiretta le azioni di Jessica, loro madre, e ha molta meno parte nel climax finale. Tuttavia, vista la difficoltà di rappresentare visivamente un personaggio simile senza scadere nel ridicolo o senza affrontare enormi difficoltà (Alia viene descritta nel libro come una bambina estremamente precoce), la scelta compiuta risulta in fin dei conti saggia.

Più fondamentale è stato il lavoro svolto su Chani e la sua relazione con Paul. I cambiamenti apportati si possono considerare tendenzialmente positivi, visto che danno spessore e personalità ad un personaggio che pur avendo un ruolo fondamentale nel libro risultava a dir poco invisibile. Tuttavia, visto l’interesse dimostrato da Villeneuve nell’adattare anche Messia di Dune, seguito letterario, sarà interessante vedere come saranno affrontate alcune delle scelte compiute nella parte finale del film riguardo alla protagonista femminile.

Alcuni temi preponderanti in Messia di Dune, che rappresentava per ammissione dello stesso Herbert una sorta di inversione di rotta rispetto al percorso di Paul nel primo libro, vengono già affrontati in Dune: Parte Due, ad esempio la strumentalizzazione del fanatismo religioso per scopi personali ed il pericolo insito nel seguire figure carismatiche. Una scelta anch’essa apprezzabile, se l’intento di Villeneuve di realizzare una trilogia cinematografica dedicata al personaggio del giovane Atreides si realizzerà.

Curiosa, infine, appare la scelta di mantenere la sezione dedicata a Lady Margot Fenring (Léa Seydoux), che nei seguiti letterari non ha alcuna conseguenza, tantopiù che ci si è invece disfatti di Thufir Hawat (Stephen McKinley Henderson), apparso nel primo film e la cui vicenda personale aiuta nel finale del libro ad adombrare di drammaticità la vittoria finale di Paul. Resterà da scoprire se Villeneuve ha intenzione, anche in questo caso, di allontanarsi dal libro e di dare al personaggio un ruolo più ampio nel sequel.

Una buona base

Gli elementi che funzionavano nel primo Dune funzionano anche qui: la costruzione di un mondo fantastico, assolutamente estraneo rispetto al nostro eppure così familiare e credibile, con un’epicità e una grandiosità da blockbuster supportata, in questo caso, anche dalla cornice naturale offerta dal deserto, molto più presente in questo film; il lavoro sulla colonna sonora (anche in questo caso composta da Hans Zimmer) e il sonoro più in generale, contribuiscono a rendere l’esperienza cinematografica non consigliata, ma piuttosto obbligata; un ottimo lavoro di scrittura per un gruppo di personaggi così vasto, che permette ad ogni personalità di venire ben caratterizzata anche con pochi tratti. Certo un eccellente lavoro è stato svolto anche nel casting: i “nuovi arrivati” si inseriscono bene all’interno del gruppo di attori che avevano già partecipato alla prima parte, con una nota di merito in particolare rivolta alla fisicità e il linguaggio corporeo di Austin Butler nei panni del temibile Feyd-Rautha.

Una menzione d’onore va poi a Chalamet, che realizza in maniera estremamente credibile e chiara il tumultuoso percorso interiore del protagonista. Attraverso i diversi nomi che in corso d’opera gli vengono assegnati (da “Paul Atreides” passiamo al nome Fremen “Muad’Dib Usul” e al più referenziale “Lisan al Gaib”), Paul muta in maniera consistente nel corso del film per poi raggiungere la sua “forma finale”, terribile e temibile: quella del messianico “Kwisatz Haderach”.

Unica pecca quella di trasformare il personaggio di Stilgar (Javier Barbem), leader dei Fremen, in una spalla comica che dà vita ad alcuni siparietti stranianti in un contesto altrimenti serio, i quali per di più rischiano di sminuire il suo fanatismo religioso.

Dove poi il primo film peccava un poco rispetto all’assai vituperato lavoro svolto da Lynch, ovvero una fotografia relativamente statica, qui assistiamo ad alcune interessanti soluzioni di colore, specialmente nella scena ambientata sul pianeta Giedi Prime o nelle sequenze di battaglia nel deserto di Arrakis che non potranno non ricordare il lavoro svolto in Blade Runner 2049.

Conclusioni

Dune-Parte Due è un blockbuster riuscito, un racconto epico nel quale ogni elemento, narrativo e tecnico, contribuisce alla tessitura di un arazzo ricco (a tratti, forse, anche troppo ricco) che prosegue la tradizione del suo predecessore nel rompere la “maledizione” dei libri e dei film da essi tratti.

Resta da vedere se i risultati al botteghino saranno abbastanza buoni da permettere a Villeneuve di terminare la trilogia al cui ultimo capitolo il finale di questo film, evidentemente, strizza l’occhio.

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Silvia Strambi,
Redattrice.

March 1, 2024
#48 Strade Perdute – Il Pianeta delle Scimmie: La trilogia Reboot

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🎙️ In questo quarantottesimo episodio di Strade Perdute, Alessandro e il suo ospite dalla redazione Mattia Bianconi analizzano la trilogia Reboot de Il Pianeta delle Scimmie.

Nello specifico:
– L’alba del pianeta delle scimmie (2011) Rupert Wyatt
– Apes Revolution (2014) Matt Reeves
– The War – Il pianeta delle scimmie (2017) Matt Reeves

Buon Ascolto! 🎧

Scopri il mondo di Frames Cinema qui: https://linktr.ee/framescinema

March 1, 2024