FRAMES CINEMA

Author: Frames Cinema

Trailer Civil War – Il nuovo film di Alex Garland

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È online il primo trailer di Civil War, nuovo film di Alex Garland, già autore di film distopici ed esistenzialisti come Ex Machina e il controverso Men. La guerra civile del titolo coinvolge gli Stati Uniti di un ipotetico futuro prossimo, nel quale una reporter di guerra interpretata da Kirsten Dunst cerca di raggiungere la capitale Washington D.C.. Il primo poster del film, alquanto evocativo, ritrae due cecchini appostati sulla balaustra intorno alla fiaccola della Statua della Libertà.

Nel video, il Presidente degli Stati Uniti interpretato da Nick Offerman si vede costretto a intervenire ordinando attacchi aerei sul suolo americano a seguito dell’abbandono della Confederazione Nazionale da parte di diciannove Stati. Nella nuova configurazione politica le Forze dell’Ovest di California e Texas e l’Alleanza della Florida ostacolano qualsiasi passaggio non autorizzato.

In un momento chiave del trailer, un paramilitare con il volto da Jesse Plemmons domanda ai protagonisti che tipo di americani si sentano, mentre tiene sotto tiro una ragazzina, esplicitando la natura politica del film e anticipando la tensione già tipica delle produzioni di Alex Garland. “Ogni volta che sono sopravvissuta a una zona di guerra, ho pensato di mandare un avvertimento a casa: non fatelo” recita la protagonista.

Oltre a Kirsten Dunst, saranno nel cast di Civil War Wagner Moura, Cailee Spaeny, Stephen McKinley Henderson e Sonoya Mizuno. Il quarto film scritto e diretto da Alex Garland è prodotto ancora da A24 come i precedenti. Civil War sarà al cinema nella primavera 2024

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Edoardo Borghesio,
Redattore.

December 14, 2023
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Con Ferrari Michael Mann torna sulle scene internazionali dopo ben otto anni dal suo Blackhat. Il film è presentato in Concorso alla 80. Mostra Internazionale d’Arte Cinematografica di Venezia ed è l’adattamento del romanzo Enzo Ferrari: The Man, The Cars, The Races, The Machine di Brock Yates.

Come il libro da cui è tratto, Ferrari non racconta l’intera biografia dell’imprenditore italiano (interpretato da Adam Driver) ma decide di soffermarsi soltanto su una sua parte, in particolare il 1957 quando è ormai un ex pilota in crisi con l’ombra del fallimento incombente sull’azienda, che dirige assieme alla moglie Laura Garello (Penélope Cruz), a cui si aggiunge la tragedia della morte del figlio Dino stroncato appena un anno prima da una distrofia muscolare, a soli ventiquattro anni. Il film narra anche il rapporto del Commendatore con Lina Lardi e la pericolosa corsa che la casa Ferrari tenta coi suoi piloti nel maggio del ‘57, la Mille Miglia.

L’uomo dietro al Cavallino

Il Cavaliere, Il commendatore (fu nominato Cavaliere di Gran Croce dell’OMRI nel luglio del ‘57), L’Ingegnere, Il Mago di Maranello, Il Patriarca, Il Grande Vecchio, Il matto (Al mat in dialetto modenese) oppure anche Il Drake (facendo riferimento al famoso corsaro inglese Francis Drake), non si riescono a contare tutti i soprannomi affibbiati al capoccia del Cavallino, una delle personalità del ‘900 italiano attorno a cui – più di tanti altri – si è creato l’alone mitico che Michael Mann ha compreso adattarsi bene al racconto su grande schermo. Ferrari indossava sempre gli occhiali da sole per “non farsi guardare dentro” perché “solo attraverso gli occhi si può”, e quindi chi era il Drake secondo il regista di Heat – La sfida? Il film riserva soltanto i pochi minuti dell’incipit al Ferrari-pilota, con Driver che sfreccia in bianco e nero sulle auto da corsa degli anni ‘20, ma nei restanti 125 non troviamo nemmeno l’imprenditore, l’ingegnere automobilistico, o l’agitatore di uomini e di talenti (come amava definirsi), semmai soltanto un sessantenne narcisista sopravvissuto a due guerre mondiali, molteplici crisi finanziarie e altrettanti incontri con la morte che hanno contribuito a costruire il culto del brand Ferrari al di là dei successi su pista (rinomatamente molto inferiori rispetto a quelli di tante altre scuderie meno famose).

Al Commendatore non andò mai giù quel “no” della Fiat agli albori della sua carriera da pilota e infatti viene presentato come una persona in cerca di riscatto, di rivalsa nei confronti di tutte le altre case automobilistiche ma poco curante dei suoi collaboratori, un po’ donnaiolo e algido anche con l’unico figlio rimasto, Piero, di cui fatica a soddisfare persino la semplice richiesta di avere l’autografo del pilota Alfonso de Portago, con cui Enzo è a contatto ogni giorno. Nel suo essere persona determinata e calcolatrice, Ferrari è anche estremamente solo e chiuso in sé stesso, segnato indelebilmente dalle morti del padre e del fratello maggiore avvenute a brevissima distanza nel 1916.

Il requiem di Michael Mann

In una scena con protagonista la magistrale Penélope Cruz, il suo personaggio spara con grande nonchalance appena sopra la spalla del marito Enzo, quasi per gioco, come mero atto ironicamente intimidatorio; non è un caso che il colpo sia sparato con tale facilità e disinvoltura: la morte è cosa comune per la famiglia Ferrari e soprattutto per Enzo, su cui aleggiava anche nel ‘33 quando gli amici e piloti Mario Umberto Borzacchini e Giuseppe Campari, citati nel film, morirono sulla pista dell’Autodromo di Monza scivolando in curva su di una macchia d’olio. Ma non solo, la fame di successo di Ferrari richiedeva ai piloti di spingersi fino al limite come successe a Eugenio Castellotti, di cui vediamo la morte nel marzo del ‘57 durante una sessione di prove private sull’Autodromo di Modena; forse non è un caso che all’inizio del film venga ripetuto come una minaccia il nome di Jean Behra, pilota che morirà sul circuito dell’AVUS durante il Gran Premio di Germania due anni dopo, nel 1959, e che nel film rappresenta inizialmente la paura esterna più grande per la scuderia Ferrari, la Maserati.

Enzo si reca quotidianamente alla tomba del figlio Dino per confidarsi con lui e ricordare ogni giorno la scomparsa sua e del padre; ricordi funerei che incatenano il Drake a un passato che non potrà mai più riavere indietro e simboleggiato anche dalla guida che ancora Enzo adotta alla macchina, quella sportiva con cui gareggiava trent’anni prima. Morte che raggiungerà Ferrari soltanto alla veneranda età di novant’anni e che noi non vedremo mai nel film, dove si sceglie intelligentemente e simbolicamente di ambientare tutto nel ‘57 e terminare infatti con la tragedia di Guidizzolo avvenuta durante la Mille Miglia, dove perse la vita il pilota Alfonso de Portago – proprio il pilota il cui autografo era bramato dal piccolo Piero Ferrari – assieme al copilota Edmund Gurner Nelson, e dove morirono nove spettatori tra cui cinque bambini, oltre a numerosi feriti.

Il Commendatore venne incriminato e rinviato a giudizio per l’incidente, ma infine assolto. Cosa che invece decide di non fare Michael Mann, dipingendo con toni talvolta lirici – guardacaso ci sarà anche un sipario a teatro – una famiglia condannata, maledetta, a cui viene dedicato un requiem mai assolutorio ma terribilmente cinico, tetro e tragico.

Ferrari uscirà nelle sale italiane il 30 novembre 2023.

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Alberto Faggiotto,
Caporedattore.

December 13, 2023
Golden Globe 2024 – Le nomination

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Lunedì 11 dicembre sono state annunciate le nomination di cinema e tv dei Golden Globe, con cerimonia di premiazione fissata al 7 gennaio 2024 al Beverly Hills Hotel di Los Angeles.

Questa 81esima edizione sarà la prima successiva alla dissoluzione della Hollywood Foreign Press Association che prima assegnava i premi. L’associazione che raggruppava i rappresentanti della stampa straniera a Hollywood infatti è stata travolta negli scorsi anni da diversi scandali che ne hanno denunciato la discriminazione e i favoritismi interni, portando a una serie di insuccessi dell’evento, ora nuovamente garantito dalla fondazione no profit Golden Globe.

Il cambio di gestione ha portato qualche novità, con l’istituzione di due nuove categorie di premiazione, quella per il miglior spettacolo di stand-up e quella per il miglior risultato al box office. Quest’ultima in particolare (che vede candidati film come Barbie e Oppenheimer ma anche titoli come The Super Mario Bros. Movie e Taylor Swift: The Eras Tour) ha suscitato perplessità dal momento che l’incasso è un dato oggettivo, perciò non è chiaro quali altri possano essere i criteri per l’assegnazione del premio.

A dominare la sezione cinematografica è Barbie di Greta Gerwig con 9 nomination di cui 3 per le canzoni, seguito a ruota da Oppeheimer di Christopher Nolan e Povere creature di Yorgos Lanthimos rispettivamente con 7 e 8 candidature. Per quanto riguarda la televisione invece, il maggior numero di nomination lo conquista Succession con 9 candidature, staccando pesantemente The Bear e Only Murders in the Building con 5 ciascuno.

Sul fronte cinematografico è interessante sottolineare da un lato lo strapotere dei blockbuster di quest’anno e specialmente del fenomeno Barbenheimer, e dall’altro il riconoscimento ai festival di Cannes e Venezia, con la presenza in gara sia del film vincitore della Palma d’oro Anatomia di una caduta sia del vincitore del Leone d’oro Povere creature.

Grande soddisfazione per l’Italia, che vede Io capitano di Matteo Garrone in corsa per il miglior film straniero dopo aver già vinto il Leone d’argento per la miglior regia ed essere stato scelto per rappresentare l’Italia anche agli Oscar 2024 le cui nomination verranno annunciate il 23 gennaio. L’Awards Season è iniziata!

Ecco tutte le nomination dei Golden Globes 2024:

FILM

Miglior film drammatico

Anatomia di una caduta
Killers of the Flower Moon
Maestro
Oppenheimer
Past Lives
La zona d’interesse

Miglior film comico o musical

Air
American Fiction
Barbie
The Holdovers
May December
Povere creature

Miglior regia di film

Bradley Cooper, Maestro
Greta Gerwig, Barbie
Yorgos Lanthimos, Povere creature
Christopher Nolan, Oppenheimer
Martin Scorsese, Killers of the Flower Moon
Celine Song, Past Lives

Miglior sceneggiatura di film

Barbie
Povere creature
Oppenheimer
Killers of the Flower Moon
Past Lives
Anatomia di una caduta

Miglior risultato al botteghino

Barbie
Guardians of the Galaxy: Vol. 3
John Wick: Chapter 4
Mission: Impossible — Dead Reckoning
Oppenheimer
Spider-Man: Across the Spider-Verse
The Super Mario Bros. Movie
Taylor Swift: The Eras Tour

Miglior attrice in un film drammatico

Annette Bening, Nyad
Lily Gladstone, Killers of the Flower Moon
Sandra Hüller, Anatomia di una caduta
Greta Lee, Past Lives
Carey Mulligan, Maestro
Cailee Spaeny, Priscilla

Miglior attore in un film drammatico

Bradley Cooper, Maestro
Leonardo DiCaprio, Killers of the Flower Moon
Colman Domingo, Rustin
Barry Keoghan, Saltburn
Cillian Murphy, Oppenheimer
Andrew Scott, All of Us Strangers

Miglior attrice in un film comico o musical

Fantasia Barrino, The Color Purple
Jennifer Lawrence, No Hard Feelings
Natalie Portman, May December
Alma Pöysti, Foglie al vento
Margot Robbie, Barbie
Emma Stone, Povere creature

Miglior attore in un film comico o musical

Nicolas Cage, Dream Scenario
Timothée Chalamet, Wonka
Matt Damon, Air
Paul Giamatti, The Holdovers
Joaquin Phoenix, Beau Is Afraid
Jeffrey Wright, American Fiction

Miglior attrice non protagonista in un film

Emily Blunt, Oppenheimer
Danielle Brooks, The Color Purple
Jodie Foster, Nyad
Julianne Moore, May December
Rosamund Pike, Saltburn
Da’Vine Joy Randolph, The Holdovers

Miglior attore non protagonista in un film

Willem Dafoe, Povere creature
Robert De Niro, Killers of the Flower Moon
Robert Downey, Jr., Oppenheimer
Ryan Gosling, Barbie
Charles Melton, May December
Mark Ruffalo, Povere creature

Miglior film d’animazione

Il ragazzo e l’airone
Elemental
Spider-Man: Across the Spider-Verse
The Super Mario Bros. Movie
Suzume
Wish

Miglior film straniero

Anatomia di una caduta
Foglie al vento
Io Capitano
Past Lives
La società della neve
La zona d’interesse

Miglior colonna sonora originale di un film

Povere creature
Oppenheimer
Il ragazzo e l’airone
La zona d’interesse
Spider-Man: Across the Spider-Verse
Killers of the Flower Moon

Migliore canzone di un film

“Addicted to Romance,” She Came to Me
“Dance the Night,” Barbie
“I’m Just Ken,” Barbie
“Peaches,” The Super Mario Bros. Movie
“Road to Freedom,” Rustin
“What Was I Made For?,” Barbie

SERIE TV

Miglior serie drammatica

1923
The Crown
The Diplomat
The Morning Show
Succession

Miglior serie comica

Abbott Elementary
Barry
The Bear
Jury Duty
Only Murders in the Building
Ted Lasso

Miglior attrice in una serie drammatica

Helen Mirren, 1923
Bella Ramsey, The Last of Us
Keri Russell, The Diplomat
Sarah Snook, Succession
Imelda Staunton, The Crown
Emma Stone, The Curse

Miglior attore in una serie drammatica

Brian Cox, Succession
Kieran Culkin, Succession
Gary Oldman, Slow Horses
Pedro Pascal, The Last of Us
Jeremy Strong, Succession
Dominic West, The Crown

Migliore attrice in una serie comica

Ayo Edebiri, The Bear
Natasha Lyonne, Poker Face
Quinta Brunson, Abbott Elementary
Rachel Brosnahan, The Marvelous Mrs. Maisel
Selena Gomez, Only Murders in the Building
Elle Fanning, The Great

Miglior attore in una serie comica

Bill Hader, Barry
Steve Martin, Only Murders in the Building
Jason Segel, Shrinking
Martin Short, Only Murders in the Building
Jason Sudeikis, Ted Lasso
Jeremy Allen White, The Bear

Miglior miniserie o film tv

Tutta la luce che non vediamo
Beef
Daisy Jones and the Six
Fargo
Fellow Travelers – Compagni di viaggio
Lezioni di Chimica

Miglior attore in una miniserie o film tv

Matt Bomer, Fellow Travelers – Compagni di viaggio
Sam Claflin, Daisy Jones and the Six
Jon Hamm, Fargo
Woody Harrelson, White House Plumbers
David Oyelowo, Lawmen: Bass Reeves
Steven Yeun, Beef

Miglior attrice in una miniserie o film tv

Riley Keough, Daisy Jones and the Six
Brie Larson, Lezioni di chimica
Elizabeth Olsen, Love and Death
Juno Temple, Fargo
Rachel Weisz, Dead Ringers
Ali Wong, Beef

Miglior attrice non protagonista in una serie tv

Elizabeth Debicki, The Crown
Abby Elliott, The Bear
Christina Ricci, Wednesday
J. Smith Cameron, Succession
Meryl Streep, Only Murder in the Building
Hannah Waddingham, Ted Lasso

Miglior attore non protagonista in una serie tv

Billy Crudup, The Morning Show
Matthew MacFadyen, Succession
James Marsden, Jury Duty
Ebon Moss Bachrach, The Bear
Alan Ruck, Succession
Alexander Skarsgaard, Succession

Miglior stand-up comedy

Ricky Gervais
Trevor Noah
Chris Rock
Amy Schumer
Sarah Silverman
Wanda Sykes

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Enrico Borghesio,
Redattore.

December 12, 2023
Recensione Home Education: Le regole del male – Riuscire a metà

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Nella sperimentazione di genere, il cinema italiano non è di certo al passo con altri paesi ma risulta innegabile come negli anni la nostra penisola sia stata capace di scrollarsi di dosso la nomea di produttrice dei “soliti film tutti uguali”. Il genere sicuramente più florido di nuovi prodotti è l’horror, con diversi nuovi nomi capaci di farsi strada attraverso opere prime o seconde pellicole – già solo in questi ultimi anni abbiamo avuto come esempio l’opera prima di Ambra Principato Hai mai avuto paura, Pantafa di Emanuele Scaringi o il ritorno di Paolo Strippoli con Piove – che non sempre hanno saputo cogliere pienamente nel segno, portando in sala prodotti di certo non privi di difetti ma che dimostrano una volontà di mettersi in gioco di molti nuovi nomi.

Tra questi si inserisce anche Andrea Niada, italiano cresciuto a Londra e che già si era fatto notare da una folta schiera di appassionati grazie al suo cortometraggio Home Education, distribuito in numerosi festival nel 2016. A sette anni di distanza, lo stesso Niada riprende il soggetto del suo corto e lo trasforma in un lungometraggio che vede nel cast Kate Reed, Julia Ormond e Rocco Fasano e con alle spalle il supporto di Warner Bros.

Un incantevole inferno

In un’isolata casa nei boschi calabresi vivono Carol e la figlia Rachel, giovane ragazza molto introversa che non frequenta la scuola e la cui educazione dipende esclusivamente dalla madre. Assieme a loro vive anche il padre Philip, apparentemente in uno stato catatonico – forse morto? – immobile sdraiato in un letto in soffitta. Le due però non sembrano preoccupate in quanto l’uomo parrebbe essere in procinto di “tornare”, l’importante è non smettere mai di dubitare. Tutti questi elementi erano già presenti nel cortometraggio, che nella fugace durata di 26 minuti costruiva un’ottima atmosfera ricca d’inquietudine e di ansia soprattutto grazie alle ottime performance delle attrici protagoniste. Nella decisione di “ampliare” il racconto, si riempiono gli spazi con un marcato approfondimento psicologico sia della giovane protagonista che della madre, approfondendo il loro stile di vita solitario, lo studio ed il rapporto che sempre più si incrina tra le protagoniste con il procedere della vicenda in cui gioca un ruolo centrale l’inedito Dan, giovane ragazzo che sembra manifestare interesse per Rachel rischiando di rompere la campana di vetro sotto la quale la giovane sembra essere costretta a vivere.

Julia Ormond è Carol, la madre ed insegnante di Carol

Ciò che senza dubbio il film manifesta in modo migliore rispetto al cortometraggio sono gli ambienti, qui spiccatamente rurali e naturali, vivi e colorati ma al tempo stesso pieni di morte soprattutto a causa delle misteriose componenti magiche che sembrano ruotare attorno ai personaggi. Misteriosi visioni ed inquietanti suoni permeano infatti la vita di Rachel, sensibile come il padre ad un “mondo di là” popolato di oscurità e decadenza. Se all’apparenza si può trovare un non troppo velato rimando al Sottosopra di Stranger Things, l’intelligenza di Niada sta proprio nel rendere questo posto un’idea prima che una realtà vera e propria che dai personaggi si trasferisce allo spettatore e che proprio come i protagonisti non può far altro che aspettare qualche segnale, esso sia un misterioso fischio simile ad un grido o qualche sequenza onirica ricca di spunti visivi.

Angoscia, non terrore

Se la regia si dimostra particolarmente calzante, aiutata da un ottimo montaggio e da un sopraffino comparto sonoro, ciò che si dimostra come vero e proprio “tallone d’Achille” è la sceneggiatura: il dilungarsi delle vicende finisce infatti per riempire il racconto di tempi morti e di azioni ripetute, dimostrando l’incapacità di trovare delle alternative interessanti alle idee già messe in scena nel cortometraggio. Il personaggio stesso di Dan si percepisce come un’aggiunta utile nei primi momenti ad approfondire l’elemento soprannaturale ma che finisce per arenarsi presto in un guscio vuoto senza capo né coda, a cui la recitazione di Rocco Fasano certo non aiuta quasi da contraltare alle invece ottime interpretazioni di Julia Ormond ma soprattutto della giovanissima Kate Reed.

La sorprendente Lydia Page nei panni di Rachel

Altro elemento che può destare più di qualche problematicità all’interno del racconto è il suo obiettivo finale. Quello che vuole fare Niada non è infatti costruire un horror che terrorizzi o spaventi nel senso più classico del termine – e ciò lo dimostra la totale assenza di jumpscare – quanto piuttosto di raccontare una storia di abusi e di rapporti tossici tra una madre ed una figlia in un nucleo famigliare permeato al tempo stesso da credenze magiche: queste ultime servono infatti soltanto ad acuire il senso di disagio, non a generarlo. Proprio su questo elemento, senza eccedere negli spoiler, la pellicola arriva quasi al punto di far dubitare di ciò che lo spettatore sta vedendo, dando credito alle dicerie che additano la protagonista semplicemente come una ragazza disturbata che necessita soltanto appropriate cure mediche.

L’ultima parola spetta quindi al pubblico: se ciò che cerca è infatti un horror capace di sconvolgere, spaventarlo e non farlo dormire la notte grazie a mostri spaventosi o suoni terrificanti, non potrà allora fare a meno di rimanere deluso davanti a questo film; se invece si è disposti a lasciarsi trasportare in un racconto lento ed angosciante ricco di spunti visivi e tematiche interessanti – ed a passare oltre alcuni evidenti difetti soprattutto di ritmo – allora quest’opera prima di Andrea Niada merita senz’altro almeno una visione.

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Mattia Bianconi,
Redattore.

December 9, 2023
Furiosa: A Mad Max Saga – Rilasciato il primo trailer

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Arrivano buone notizie per i fan del franchise post-apocalittico di Mad Max!

Infatti è stato da rilasciato da qualche ora il primo trailer di Furiosa: A Mad Max Saga, nonché l’attesissimo prequel del capolavoro Mad Max: Fury Road firmato da George Miller nel 2015.

TRAILER IN ITALIANO

TRAILER IN ORIGINALE

Nel video la protagonista è chiaramente Furiosa, interpretata da Anya Taylor-Joy, che assieme a delle magnifiche ambientazioni che riprendono il primo capitolo, danno vita ad un trailer pieno di azione, proprio come ci si aspettava.

Trama ufficiale:

Mentre il mondo va in rovina, la giovane Furiosa viene strappata dal Luogo Verde delle Molte Madri, e cade nelle mani di una grande Orda di Motociclisti guidata dal Signore della Guerra Dementus. Attraversando le Terre Desolate, si imbattono nella Cittadella presieduta da Immortan Joe. Mentre i due tiranni si battono per il predominio, Furiosa deve sopravvivere a molte prove e mettere insieme i mezzi per trovare la strada di casa.

Nel cast oltre alla già citata Anya Taylor-Joy (The Witch) sono presenti Chris Hemsworth (Thor), Alyla Browne (Tremila anni di attesa) e Tom Burke (Mank).

Il film è diretto dal geniale George Miller (Babe, maialino coraggioso) creatore della prima trilogia iniziata nel 1979 e del più recente Mad Max:Fury Road, indipendente dalla trilogia principe, che viene considerato tra i migliori film action degli ultimi anni.

Oltre a dirigere la pellicola Miller ha anche scritto la sceneggiatura assieme a Nico Lathouris, co-sceneggiatore anche del capitolo precedente. Sceneggiatura che era stata concepita ancor prima di Fury Road, ma il progetto fu bloccato per cause legali con la produzione che fortunatamente si risolsero pochi anni dopo.

In generale gran parte del team utilizzato per Fury Road è rimasto invariato e ha dato il suo contributo anche per questa pellicola.

La pellicola prodotta da Warner Bros. Pictures in collaborazione con Village Roadshow Pictures, Kennedy Miller Mitchell e George Miller stesso, verrà distribuita nelle sale italiane nel 2024 ma non è ancora nota la data precisa.

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Michael Pierdomenico,
Redattore.

December 2, 2023
Recensione Birth/Rebirth – Torino Film Festival 2023

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Birth/Rebirth, opera prima della regista Laura Moss presentata nella sezione Crazies del Torino Film Festival 2023, è un mix moderno tra Frankenstein e Cronemberg, con protagoniste Marin Ireland e Judy Reyes, il volto di Carla in Scrubs, che qui torna nell’ambiente ospedaliero.

Rose è una patologa forense che predilige il silenzio dei cadaveri ai tumulti delle interazioni sociali. Una sua ossessione segreta è la rianimazione dei morti. Celie è un’ostetrica la cui vita ruota attorno alla sua briosa e loquace figlia di sei anni, Lila. La tragica notte in cui Lila si ammala e muore improvvisamente, le vite di queste due donne s’intrecciano in modo irrevocabile. Si avventureranno lungo un buio sentiero da cui non c’è ritorno; e saranno costrette a confrontarsi con i limiti che sono disposte a superare per proteggere ciò che più amano.

La soggettiva di un parto apre il film, a rimarcare l’importanza dell’atto della nascita all’interno della pellicola, interamente incentrata sul concetto di maternità e su cosa si è disposti a fare per tenere in vita i propri figli. Rose e Celie, due personaggi agli antipodi all’inizio del film, sociopatica, fredda e schiva la prima, materna e gentile la seconda, durante la loro evoluzione fanno proprie le caratteristiche della partner in crime, vivendo un ribaltamento di ruoli. Rose sviluppa un sentimento materno nei confronti di Lila, mentre Celie sprofonda progressivamente nell’abisso del male, diventando una persona prevaricatrice e capace di sacrificare tutto e tutti pur di tenere in vinta la propria figlia. E’ particolarmente interessante il percorso di Celie a livello concettuale: è proprio lei all’interno del film ad avere un’evoluzione in negativo, interpretata da Judy Reyes, l’iconica Carla di Scrubs, personaggio molto sensibile e dalla bontà innata, con un ribaltamento di ruoli rispetto a Rose, e rispetto anche ai precedenti ruoli dell’attrice stessa.

Tra budella umane realizzate con ottimi effetti pratici, pratiche illegali ed esperimenti scientifici in cui Rose gioca a fare dio e a riportare in vita una bambina nel Bronx, le due protagoniste “rinasceranno” in persone nuove, non necessariamente con una connotazione positiva, costrette a portare con loro il fardello delle loro scelte.

Se da un lato la regia della Moss è capace di trasmettere una sensazione di malessere perenne estremamente funzionale al racconto, dall’altro il rigore scientifico e la freddezza della messa in scena, della storia e dei personaggi, soffocano la componente umana che avrebbe giovato alla caratterizzazione delle protagoniste e avrebbe facilitato l’empatia dello spettatore nei loro confronti, verso cui non si prova mai alcun tipo di sentimento. Inoltre qualsiasi tipo di ragionamento sull’etica delle azioni compiute viene lasciato in secondo piano se non totalmente azzerato, una mancanza non da poco visto il tema su cui viene costruita tutta la narrazione. Quello che resta è un film tutto sommato godibile, ma col freno a mano tirato, incapace di colpire davvero lo spettatore e di convincere fino in fondo.

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Luca Orusa,
Caporedattore.

December 2, 2023
#44 Strade Perdute – Napoleon di Ridley Scott

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LINK ALL’EPISODIO

In questo quarantaquattresimo episodio di Strade Perdute, Jacopo, Alessandro e la loro ospite dalla redazione Anna esprimono il loro parere a caldo sull’ultimo film di Ridley Scott: Napoleon.

Buona ascolto!

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

November 30, 2023
Recensione Soleils Atikamekw – Torino Film Festival 2023

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Chloé Leriche torna al Torino Film Festival dopo la partecipazione nel 2016, presentando il suo secondo lungometraggio nel concorso principale di questa edizione. A cavallo tra documentario e finzione, la storia narra della tragedia vissuta dalla comunità indigena degli Atikamekw nel 1977.

Il 26 giugno di quell’anno, un veicolo precipita in un fiume poco fuori dalla comunità Atikamekw di Manawan, nel nord del Québec. Due persone di origine non indigena sopravvivono all’incidente, ma cinque membri della comunità Atikamekw perdono la vita. La polizia conclude le indagini dichiarando che si è trattato di un incidente, ma per le famiglie delle vittime molte domande rimangono ancora senza risposta (fonte Torino Film Festival).

Se da un lato il tema del film non può che ricordare l’ultima opera di Martin Scorsese, e in questo senso Soleils Atikamekw è definibile come l’anti Killers of the Flower Moon. Non esiste epica all’interno del film della Leriche, costruito tutto sulla reazione come comunità degli Atikamekw alla tragedia avvenuta, elemento quasi completamente trascurato all’interno del film di Scorsese. Una comunità gioiosa che nel film dopo il lutto viene ritratta come composta da spettri che si aggirano nella notte, persone trasformate nei fantasmi di loro stesse dopo aver perso i propri cari. Questo elemento insieme ai segnali provenienti dall’al di là comunicati attraverso la luce del sole, aggiungono al mix tra documentario e finzione un’interessante componente di realismo magico.

Come nel film di Scorsese il bianco abbatte e uccide, sottolineato dalla scena più riuscita del film in cui i probabili assassini attraversano un corridoio di alberi abbattuti. Una foresta massacrata, come gli Atikamekw, che fanno del loro contatto con la natura una parte essenziale della loro vita. L’acqua del lago, dove sono stati ritrovati i cadaveri, possiede una memoria e per superare il lutto è necessario immergersi nel luogo dell’accaduto, cessando di avere paura di esso. La polizia si disinteressa totalmente al caso, bollandolo come l’ennesimo evento problematico causato dagli indigeni.

La Leriche è brava nel trasmettere una sensazione di inquietudine costante e di tragedia imminente nella prima parte della pellicola, messa in scena con un gusto visivo raffinato che può ricordare il cinema di Kelly Reichardt. Anche il disinteresse della polizia e la frustrazione della comunità per la mancata giustizia hanno un ruolo centrale nella narrazione.

Il problema principale che contribuisce alla non riuscita totale del film è la mancanza di quantità di materiale sufficiente a reggere tutti i 100 minuti dell’opera. A metà della durata complessiva la pellicola va inesorabilmente ad arenarsi in una ripetizione continua di ciò che era stato mostrato precedentemente, perdendo mordente e depotenziando il messaggio che voleva trasmettere. Una grande occasione mancata visto il tema del film e il grande numero di intuizioni visive che la regista sfodera nella prima parte dell’opera.

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Luca Orusa,
Caporedattore.

November 29, 2023
Recensione Kubi di Takeshi Kitano – Torino Film Festival 2023

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A sette anni di distanza dal suo ultimo film, torna al cinema Takeshi Kitano con la sua ventesima opera da regista, uno Jidaigeki presentato al Festival di Cannes, che coniuga perfettamente due elementi propri del regista giapponese: la violenza e la comicità dissacrante. Kitano mette le cose in chiaro riguardo le sue intenzioni sin dal titolo del film, il cui ideogramma viene mozzato, per poi essere seguito da una collezione di corpi martoriati in un fiume.

Desiderando estendere il suo potere a tutto il Giappone, il signore della guerra Oda Nobunaga fu coinvolto in feroci battaglie con gli eserciti dei clan Mouri, Takeda e Uesugi, oltreché con le forze al servizio dei templi e dei santuari di Kyoto. Nel frattempo, il vassallo di Nobunaga, Murashige Araki, organizzò una ribellione e scomparve rapidamente. Nel frattempo il vassallo Hashiba, insieme a suo fratello Hidenaga e allo stratega militare Kuroda Kanbei, elaborò un piano per sottrarre il potere a Nobunaga e prendere lui stesso il controllo del Giappone (fonte Torino Film Festival).

Con questa opera Kitano prosegue il percorso di decostruzione del genere iniziato con Zatōichi, facendo letteralmente a pezzi a colpi di katana il concetto di Jidaigeki. In questo senso la violenza, di stampo assolutamente fumettoso e surreale e onnipresente all’interno del film, è assolutamente funzionale al concetto di distruzione e massacro dello regole del genere, regole rappresentate dai personaggi stessi, che devono essere uccisi nella maniera più violenta possibile. Kitano prende tutte gli stilemi quali l’onore, il coraggio e la lealtà tipiche dei samurai e li ridicolizza.

Due sono i principali schieramenti del film che si costituiscono tra gli innumerevoli personaggi. Da un lato il signore della guerra Nobunaga è un adolescente dai modi infantili capace di atti oltre il limite della crudeltà, che agisce per pura gelosia nei confronti dei propri amanti. In questo senso Kitano torna a mettere in scena dell’omosessualità tra i samurai come già aveva realizzato Oshima nel su Tabù – Gohatto. Dall’altro Hashiba, interpretato dal regista stesso, è un anziano impacciato che si diverte a mettere alla berlina tutte le persone che lo circondano. Non è un caso che Hashiba sia impersonato da Kitano stesso, che si trasforma metacinematograficamente in regista anche all’interno della narrazione, prendendosi gioco dei personaggi e demolendo il genere dal suo interno.

Il film, a trazione esclusivamente maschile, è una collezione di parassiti pronti ad abbandonare le proprie mogli in cerca di gloria, di codardi sempre favorevoli a farsi sostituire in battaglia da controfigure per evitare di andare incontro alla morte, di preti disposti a uccidere pur di ottenere la costruzione di una chiesa.

Kitano costruisce la narrazione a partire da sequenze ironiche e mai epiche, neanche nelle grandi battaglie campali, massacrando ad uno a uno i vari personaggi e le tradizioni: neanche l’harakiri viene preso seriamente, con Hashiba che si lamenta delle lente tempistiche dell’esecuzione dell’atto.

Con Kubi Kitano torna al cinema con una commedia irresistibile, costruita su una lenta ma inesorabile trasformazione dello Jidaigeki in film demenziale, che conferma come il grande regista abbia ancora alcune frecce al suo arco e sia capace di innovare non curandosi delle regole che il genere cinematografico impone. Certamente nel caso in cui queste frecce dovesse tirarle Hashiba, farebbe eseguire l’atto a uno dei suoi sottoposti per poi prendersi gioco di lui.

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Luca Orusa,
Caporedattore.

November 29, 2023
Recensione Cerrar los ojos – Torino Film Festival 2023

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Dopo la polemica all’ultimo Festival di Cannes, causata dall’ambiguità sull’ammissione o meno al concorso principale, arriva anche al Torino Film Festival nella sezione Fuori Concorso la nuova opera del regista spagnolo Víctor Erice, suo primo lungometraggio dopo un’attesa di 30 anni dal suo precedente film.

Il famoso attore spagnolo Julio Arenas scompare mentre sta girando un film. Anche se il suo corpo non viene mai ritrovato, la polizia conclude l’istruttoria sostenendo che è stato vittima di un incidente in mare. Molti anni dopo, il mistero che circonda la sua scomparsa torna alla ribalta grazie a un programma televisivo che ne racconta la vita e la morte, mostrando le immagini esclusive delle ultime scene in cui ha recitato, riprese da un suo caro amico, il regista Miguel Garay (fonte Torino Film Festival).

Il film si apre con il girato in pellicola dell’ultima opera di Julio Arenas prima della scomparsa. Un uomo incarica il personaggio interpretato da Julio di cercare sua figlia per poterla incontrare ancora una volta prima della sua imminente dipartita, per poter essere osservato come solo la figlia era capace di fare, con un intenso sguardo di addio. Uno sguardo di addio che anche Julio in seguito volgerà al regista Miguel attraverso la telecamera. Uno dei due personaggi di tale preludio, nel descrivere le componenti della scacchiera, definisce il re degli scacchi come la pedina più triste: Miguel Garay, il regista nonché protagonista del film, è a suo modo un re, un direttore, affetto da una profonda malinconia dopo una vita costellata di lutti e ambizioni non rispettate. Inizialmente disilluso sul ruolo contemporaneo del cinema, in cui si sente un dinosauro, una persona cresciuta nell’analogico e costretto a vivere in un mondo dominato dal digitale, si interroga su quanto la bellezza dell’arte possa diventare una routine se vissuta ogni giorno, come le esperienze vissute da una guida del museo del Prado chiamata a ripetere le stesse cose tutti i giorni ai turisti.

Miguel e Julio sono collegati da un rapporto di amicizia e sono due facce della stessa medaglia, tra fidanzate condivise e vestiti indossati da entrambi. Sono collegati persino dagli elementi naturali, con epifanie che sopraggiungono in momenti di pioggia. Lo speciale del programma televisivo è l’occasione per Miguel di ritornare a riflettere sul rapporto che aveva con l’amico prima della sua scomparsa. La prima metà del film rimanda in qualche modo a Quarto Potere, alla difficoltà nel tratteggiare, definire e comprendere una persona. Come in uno specchio metacinematografico, Julio passa dall’interpretare un personaggio incaricato di trovare una bambina nella finzione, all’essere cercato dai propri amici e dalla propria famiglia nella realtà. Tutte persone che non lo han dimenticato e che ancora si interrogano sulla sua scomparsa.

Víctor Erice costruisce tutta il film attraverso primi piani insisti sui volti e sugli occhi, sugli intensi sguardi degli iconici personaggi che costellano tutta la pellicola, delineati attraverso raffinati dialoghi di grande genuinità, con il susseguirsi di scene apparentemente fini a sé stesse che sono tuttavia funzionali alla costruzione delle loro psicologie. Il titolo stesso della pellicola significa “chiudi gli occhi” a confermare l’importanza data allo sguardo e all’immagine.

Il percorso di Miguel, da regista disilluso ad artista che utilizza il cinema per cercare di salvare e ricostruire una persona, risulta dunque coerente e quasi autobiografico di Víctor Erice, tornato dopo più di 30 anni a dirigere un film, come se si fosse reso conto di avere ancora qualcosa da raccontare. Perché l’arte, il cinema e la potenza delle sue immagini possiedono ancora un ruolo salvifico. La nostra vita è rappresentata da una collezione di immagini, foto, riprese e ognuna di esse può essere fondamentale nella definizione di noi stessi. Almeno finché ci sarà il rumore di un proiettore, è lecito credere nei miracoli che solo il cinema è capace di produrre.

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Luca Orusa,
Caporedattore.

November 28, 2023