FRAMES CINEMA

Author: Frames Cinema

Recensione La teoria del tutto – Un Noir fantascientifico #Venezia80

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Il multiverso sbarca sul Lido veneziano, o almeno così pare, nel primi minuti de Die Theorie von Allem o La teoria del tutto (da non confondere col biopic dedicato alla vita di Stephen Hawking). Il film si apre con un’intervista effettuata all’autore di un libro chiamato, appunto, La teoria del tutto. Johannes Leinert presenta il suo romanzo ad una televisione tedesca, insistendo che si tratti di una storia vera nonostante i dubbi del presentatore ed il pubblico, e si allontana evidentemente scosso dopo aver fatto un appello in camera rivolto ad una certa ‘Karin’.

Quello che segue è un lungo flashback che ci porta a 12 anni prima l’intervista, nel 1962, e che ci racconta gli avvenimenti riportati nel libro. Johannes, dottorando in fisica che lavora da due anni ad una tesi sulla possibile esistenza del multiverso, si reca assieme al suo relatore ad una conferenza stampa sulla teoria del tutto in un hotel sulle montagne svizzere. Qui si verificano una serie di strani eventi e Johannes è coinvolto in un mistero che segnerà la sua vita.

L’incipit è ben impostato e trascina immediatamente il pubblico con una premessa interessante. Come affermato dal presentatore del programma, La teoria del tutto è una storia mistery fantascientifica, ambientata in un setting decisamente inedito. Le montagne svizzere non sono certo il luogo più gettonato per un film fantastico, ma si rivelano invece molto appropriate per l’altro genere di riferimento: il noir. Girato in un bianco e nero che favorisce forti contrasti tra luce ed ombra (il regista, Timm Kröger, ‘nasce’ d’altronde direttore della fotografia), ne La teoria del tutto si gioca molto sulle silhouette e sui volti, spesso immersi nell’oscurità o parzialmente coperti. Uguale importanza hanno anche gli ambienti, sia gli esterni (le ostili montagne perennemente coperte di neve, reminiscenti di un dramma scandinavo) sia gli interni che vengono anch’essi ripresi attraverso una costante opposizione tra luce ed ombra, visibile ed invisibile, nascosto ed in mostra.

Il film riprende del genere anche i ‘tipi’ caratteriali (l’osservatore ingenuo, la femme fatale…) ed i modelli registici (Hitchcock è una ispirazione dichiarata ed una scena in particolare sembra omaggiare il confronto finale de La finestra sul cortile). Anche l’uso delle transizioni risulta evidentemente ispirato ad una certa tradizione, ma per quanto comprensibile, l’utilizzo della dissolvenza incrociata risulta veramente troppo esasperato. Un altro elemento decisamente invasivo per la riuscita del prodotto finale è l’inferenza della colonna sonora, che accompagna quasi tutta la durata del film. L’impressione è quella di una scarsa fiducia nella capacità delle immagini di parlare per sé e comunicare allo spettatore la loro funzione e le emozioni che dovrebbero suscitare.

Se la premessa con la crasi di due generi è interessante, il risultato non è però del tutto riuscito nel suo tentativo di unione: l’elemento noir è quello preponderante, e l’equilibrio tra soprannaturale e quotidiano non si raggiunge mai davvero del tutto come è invece in un altro dei punti di riferimento dichiarato di Kröger, ovvero Lynch. Più che di fantascienza vera e propria come dichiarato nell’incipit, il film vive di conturbante, di distorsioni della realtà ed elementi non chiari a cui non viene mai data un’effettiva risposta. Sta allo spettatore mettere insieme i pezzi disparati che il film fornisce e cercare di ricostruirli in un insieme coeso.

Il risultato è un film certamente interessante, un esperimento con immagini estremamente suggestive, capace di creare e mantenere un’atmosfera, ma che non riesce sfortunatamente a sfruttare mai a pieno la propria premessa. Potremmo dire che, come nel caso della tesi di Johannes, abbiamo un’idea interessante che però manca di sostanza.

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Silvia Strambi,
Redattrice.

September 3, 2023
Recensione Felicità – L’esordio alla regia di Micaela Ramazzotti #Venezia80

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Micaela Ramazzotti esordisce alla regia con Felicità, presentato nella sezione Orizzonti Extra durante l’80esima edizione della Mostra del Cinema di Venezia. La storia è quella di Desirè (interpretata da Ramazzotti stessa), una acconciatrice che lavora nel mondo del cinema. Proveniente da una famiglia di borgata molto conservatrice, composta dai genitori di mezza età (Max Tortora ed Anna Galiena) e il fratello minore Claudio (Matteo Olivetti), Desirè se ne è allontanata appena compiuti i 18 anni, ma continua ad essere risucchiata all’interno del nucleo famigliare nonostante le diatribe col compagno Bruno (Sergio Rubini). L’ultima occasione è il tentato suicidio del fratello, che apre una voragine ancora più profonda in una famiglia già a pezzi.

Con Felicità Ramazzotti debutta nel segno del cinema impegnato, o meglio, del cinema che parla, più o meno bene, di argomenti ‘impegnati’ e particolarmente topici. Ne è una prova già la scena iniziale, nella quale la protagonista ci viene presentata mentre, lavorando, viene molestata da uno degli attori sul set. La scena presenta un interessante contrasto visivo tra il mondo quasi favolistico del cinema, e l’atmosfera sul set rappresentata dalla tentata violenza su Desirè. Il momento successivo in cui, quando ne parla col suo compagno, questo si lamenta del fatto pregandola di ‘cercare di evitare che succeda di nuovo’, o quantomeno di non fargli parola di eventuali nuovi abusi, provoca ancora più rabbia perché ricalca delle argomentazioni addotte da chi colpevolizza la vittima per la violenza subita che ormai conosciamo a menadito.

Un tema certamente importante e sentito, specialmente post MeToo, quello dello sfruttamento sul posto di lavoro nel mondo del cinema e dell’abuso che si cela dietro un’industria capace di produrre tanta bellezza, e potenzialmente ricco di molti spunti nelle mani di un’attrice. Tuttavia, pur essendo presente, non sarà questa la colonna portante attorno a cui ruoterà l’intero film: l’incipit viene accantonato e ripreso solo a tratti. Felicità si occupa infatti soprattutto di salute mentale e dell’impatto potenzialmente negativo della famiglia o delle persone vicine nel processo di (tentata) guarigione.

I genitori di Claudio e Desirè sono infatti legati ad un contesto socio-storico-culturale completamente opposto a quello dei figli, e sono incapaci di affrontare la crisi mentale di Claudio, abbandonandosi a commenti ed atteggiamenti casuali ma dannosi. Anche il personaggio di Bruno, tuttavia, che pure è istruito e quindi potenzialmente più conscio di questioni sociali topiche come la salute mentale, non è esente dal giudizio nei confronti della compagna (come abbiamo avuto modo di vedere già nella scena iniziale). In Felicità nessuno è risparmiato ed effettivamente capace di affrontare la situazione, ricalcando l’ancora attuale incapacità del nostro paese di affrontare in maniera seria e senza giudizi la salute mentale.

Nelle scene dedicate al tema Ramazzotti, anche sceneggiatrice (insieme alle esordienti Isabella Cecchi ed Alessandra Guidi), evita fortunatamente alcune potenziali trappole in cui spesso si cade nel parlare di malattie mentali: non demonizza l’uso di farmaci e la terapia psicologica (e anzi, le eleva), non nasconde la difficoltà del percorso di guarigione, non decide di puntare ad una facile riconciliazione con la parte dannosa in nome dell’affetto familiare o dei vincoli di sangue.

Dove Felicità riesce in termini di dialoghi, a tratti didascalici ma certamente più che atti allo scopo (la ricostruzione di un ambiente familiare e relazionale soffocante) pecca però per costruzione della storia: alcune scene non sembrano avere un ruolo ben preciso per il procedere della vicenda, e alcuni fili narrativi a cui viene data importanza non vengono mai risolti. Ciò a partire dall’arco narrativo della stessa Desirè, che non ha mai una risoluzione vera e propria (potremmo potenzialmente dire che si tratta di un finale in linea col personaggio, incapace di pensare a sé e alla sua crescita e dedita al totale servizio di quello degli altri).

Neppure la regia e la fotografia brillano per guizzi di genio o perizia tecnica. Tuttavia, trattandosi di un debutto alla regia, siamo più propensi a passare sopra un risultato non brillante ma certamente pulito. Le premesse sono buone, e siamo curiosi di vedere se questo primo esperimento resterà un’eccezione nella carriera di Ramazzotti o l’inizio di un nuovo percorso.

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Silvia Strambi,
Redattrice.

September 2, 2023
Recensione Melk – Una silenziosa inquietudine #Venezia80

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Con Melk assistiamo all’esordio della regista olandese Stefanie Kolk, che ha presentato il film all’interno della rassegna autonoma “giornate degli autori” nell’80esima edizione della mostra cinematografica di Venezia. Il suo primo lungometraggio racconta la drammatica storia di una madre che affronta il lutto di un aborto spontaneo subito in gravidanza. La tragicità dell’evento però è accompagnata da una particolare risposta da parte del suo corpo: un’ininterrotta e sempre crescente produzione di latte materno.

Questo elemento diviene centrale nella narrazione e nella vita della protagonista, per la quale è impensabile sprecare quel latte che il suo bambino avrebbe potuto bere. Di conseguenza il più importante aspetto della sua vita diviene trovare un ente che le permetta di donare il suo latte materno ai neonati prematuri. Forse un modo per mantenere una connessione con suo figlio, per elaborare il triste avvenimento, per dare un fine alla sua gravidanza. Ciò che suscita maggior impressione è la calma quasi inquietante con cui i fatti si svolgono, scelta consapevole della regista. La Kolk ha infatti spiegato come l’ispirazione per l’opera fosse giunta in seguito a sensazioni provate da lei stessa durante il periodo della maternità. Era stata portata a ragionare su come funzionasse il corpo femminile dopo la gravidanza, da quali meccanismi esso fosse regolato, e da quanto imprevedibile potesse essere.

La regista aveva parlato con donne che avevano vissuti aborti spontanei, e si era resa conto di come in occasioni simili le parole fossero superflue, e un silenzio carico di emozioni fosse molto più eloquente. Da qui la scelta di eliminare il caos dal racconto, o meglio, di esplicitarlo tramite un espressivo ossimoro. La lentezza del film può talvolta snervare e portare lo spettatore a chiedersi quale sia il punto a cui il racconto vuole giungere, ma il fulcro, il messaggio principale, è proprio la silenziosa inquietudine carica di dolore che porta a provare insieme ai protagonisti. In questo modo la connessione che si crea è molto più profonda e l’empatia molto più vera.

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Gaia Fanelli,
Redattrice.

September 2, 2023
Recensione La Terra Promessa – Il nuovo film di Nikolaj Arcel con Mads Mikkelsen #Venezia80

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Bastarden – La terra promessa è l’ultimo film del regista danese Nikolaj Arcel, presentato all’80esima mostra internazionale dell’arte cinematografica di Venezia. L’opera si presenta diversa dal resto della sua produzione, come il regista stesso dichiara: costituisce infatti un bilancio della propria vita e carriera, posto sul piano esistenziale. Dopo essere diventato padre Arcel aveva avuto modo di ragionare sul suo atteggiamento nei confronti del lavoro, atto sempre a realizzare una narrazione artistica ma senza mai scendere più in profondità. Bastarden ha come fulcro quindi il concetto dell’ambizione, nella sua grandezza come nei suoi lati negatitivi.

Nel 1755 il capitano Ludwig Kahlen si prefissa l’obiettivo di bonificare delle aride terre danesi, per potervi costruire una colonia delle terre del re. L’impresa, purtroppo, si rivela ardua già in partenza. I funzionari del sovrano infatti concedono l’autorizzazione a Kahlen convinti del suo imminente fallimento.
Il capitano non si trova a sfidare solo un ambiente ostile all’agricoltura, ma dovrà far fronte anche a dispetti di svariato tipo da parte dei latifondisti della zona, infastiditi da una presenza estranea in quelle che reputano le loro terre. In particolare il ricco Frederik de Schinkel userà qualsiasi mezzo a sua disposizione per ostacolare la missione del protagonista, compresi atti spietati su civili innocenti.

Lo stoicismo con cui Kahlen affronta le sfide che gli si propongono è esemplare, ma pur portandolo a realizzare il suo desiderio lo pone davanti a perdite molto gravi. Dietro il suo comportamento quasi ossessivo c’è però una ragione: egli infatti è di estrazione bassa, con una madre domestica e un padre che non lo aveva riconosciuto. Dopo 25 lunghi anni era riuscito ad ottenere una carica, bramando la frequentazione di ambienti nobiliari. Il mezzo per far parte del rango desiderato sarebbe stato la nomina a nobile, capo della colonia da lui fondata.

Lo sguardo intenso e carico di emozioni di Mikkelsen, in una delle ultime scene del film, esprime il conflitto interiore di un uomo che dopo aver sacrificato la propria vita per realizzare un obiettivo, si chiede se il prezzo pagato ne valesse davvero la pena. In questa performance di Mikkelsen, come in quasi tutte le sue altre, il silenzio è veicolo di significati molto più di quanto le parole potrebbero esprimere. La maggior parte delle volte in cui si trova a dover ricostruire da capo qualcosa che gli è stato tolto, o viene posto dinanzi a un ricatto, il capitano Kahlen non parla quasi mai. È il suo viso a parlare per lui, a raccontare i pensieri che si stanno articolando nella sua mente e le sue valutazioni sulla situazione.

Ma queste microespressioni sono quasi impercettibili, nascoste dietro una maschera immobile e ieratica, conscia che retrocedere di un passo, davanti ai potenti, significhi perdere tutto. Bastarden racchiude lo spirito scandinavo e abbraccia una narrazione sugli uomini del nord che li dipinge freddi, riservati e votati al sacrificio; capaci di accettare la sofferenza e rispondervi con la quiete.

Una bellissima canzone di un artista norvegese recita:

People in Northern Europe since medieval times
We find it hard to deal with when our dreams come true
As if happiness exists in the world at a fixed amount
And if you feel up, somebody somewhere else feels down

(1517 -The whitest boy alive)

Questo sentimento è ben presente nei film di Joachim Trier, o nelle opere del suo più famoso parente Lars Von; in capolavori come Il sospetto di Thomas Vinterberg, in cui possiamo tra l’altro vedere sempre Mads come protagonista. E lo vediamo anche in Bastarden, accompagnato però da un’intensa quanto nascosta volontà di stare bene.

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Gaia Fanelli,
Redattrice.

September 1, 2023
Recensione L’ordine del Tempo – Il ritorno di Liliana Cavani dietro la macchina da presa #Venezia80

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Torna dopo vent’anni dall’ultimo lungometraggio (Il gioco di Ripley, 2002) la regista novantenne Liliana Cavani torna con L’ordine del tempo, presentato fuori concorso alla Mostra del Cinema di Venezia, dove Cavani è stata premiata col Leone D’Oro alla Carriera. Il film è anche arrivato il 31 agosto in sala in tutta Italia.

Protagonista un cast di star soprattutto italiane di tutto rispetto: Alessandro Gassmann, Edoardo Leo, Claudia Gerini, Valentina Cervi tra gli altri.
Il film segue la storia di un gruppo di amici che, in occasione del cinquantesimo compleanno di Elsa (Gerini), si ritrova nella casa al mare di quest’ultima e del marito Pietro (Gassmann). Presente è anche Enrico (Leo), un fisico che porta con sé una tremenda notizia: un asteroide dalla portata potenzialmente distruttiva è entrato nel Sistema Solare e minaccia di distruggere la Terra.

Lungi dal porre l’accento sulle implicazioni sociali di un evento simile come era in Don’t look up o, per fare un esempio meno recente, rendere la premessa un’occasione di celebrazione della specie umana (ma soprattutto dell’America) e della sua capacità di vincere/sconfiggere la natura come in Armageddon -Giudizio finale, il film di Cavani vira maggiormente su un approccio alla Melancholia, affrontando l’impatto psicologico di un simile evento su tutti i protagonisti. Ma se nel film di Von Trier l’imminente fine del mondo era usata come pretesto per affrontare il tema della depressione, qui la conseguenza del fatto sui personaggi è il più scontato e probabilmente ricorrente nella cinematografia italiana degli ultimi venti (e passa) anni: l’essere così vicino alla morte spinge infatti questi uomini e donne di mezza età a rivedere le proprie scelte di vita e ad interrogarsi su relazioni e sentimenti.

Ma dal momento che ogni idea non è originale e che ogni storia è stata già raccontata (ricordiamo che, secondo Booker, esistono solo 7 tipi di trame fondamentali), il problema come al solito non sta nel ‘cosa’ ma nel ‘come’. Ed è il ‘come’ ad essere, anch’esso, assai scialbo: i protagonisti non fanno che raccontarsi agli altri (e al pubblico) per due lunghe ore, ricordando fatti, persone e relazioni interpersonali che, spesso e volentieri, appartengono al passato e che fanno la loro breve apparizione in maniera tanto frettolosa quanto inaspettata.. Ogni personaggio, sembra pretendere la sceneggiatura, deve avere il suo personale trauma o il proprio dramma irrisolto, qualsiasi esso sia e comunque sia (o meglio, non sia) stato introdotto in maniera organica sin dall’inizio nelle azioni e nelle parole dei rispettivi personaggi. Peccato non basti un trauma o una passione amorosa tragica per rendere un personaggio interessante (anche se molti media moderni sembrano crederlo).

Completano il tutto riflessioni su un po’ di tutto (ambientalismo, religione, nazismo, ad un certo punto si parla persino di granchi blu) che però poco (se non proprio nulla) di nuovo o di originale hanno da dire rispetto a ciò che è già stato detto, e magari meglio, da altri autori.

Sia chiaro, L’ordine del tempo non è e non sarà certo il peggior film presentato alla Mostra quest’anno, ma ha un grande, enorme difetto: è noioso, nella scrittura e nella regia, nonostante l'illustre mano che c'è alle spalle.

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Silvia Strambi,
Redattrice.

September 1, 2023
Recensione Comandante – L’epopea marittima del capitano Todaro

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Comandante è il quinto lungometraggio portato a compimento da Edoardo De Angelis in appena dodici anni, giovane regista italiano che si è aggiudicato il premio per la Miglior sceneggiatura originale ai David di Donatello del 2017 grazie a Indivisibili, mentre l’ultima fatica, Il vizio della speranza, gli è valsa il Premio del pubblico BNL alla Festa del Cinema di Roma del 2018.

Sostituendo Challengers di Luca Guadagnino – che non parteciperà alla Mostra per decisioni della produzione a seguito dello sciopero indetto il 13 luglio dal sindacato degli attori americani Sag-Aftra – il film con protagonista Pierfrancesco Favino è il nuovo film d’apertura della 80. Mostra Internazionale d’Arte Cinematografica di Venezia, dove viene presentato in Concorso.

Pierfrancesco Favino nei panni del capitano Salvatore Todaro

Una guerra intimista

16 ottobre 1940: il capitano Salvatore Todaro è al comando del sommergibile Comandante Cappellini. Dopo essere stata colpita dai colpi di un piroscafo mercantile belga, la flotta italiana lo affonda a largo dell’Atlantico. Todaro deciderà di salvare i 26 naufraghi belgi e di esporsi al fuoco nemico navigando in emersione per tre giorni e, di conseguenza, rischiando la vita.

Inserendosi nel filone sommergibilista di film come Caccia a ottobre rosso di John McTiernan o il fluviale Das Boot di Wolfgang Petersen, Comandante decide di intraprendere una strada più intimista rifuggendo la spettacolarizzazione del conflitto bellico. Anzi, escluso l’affondamento della flotta belga non c’è traccia della guerra perché il conflitto è umano, scegliere se tendere la mano al nemico o se lasciarlo in balia delle onde dell’Atlantico. De Angelis tenta di sfruttare gli angusti spazi del sommergibile al servizio della Regia Marina come spazio di riflessione per un messaggio umanista e solidarista che vada contro quell’eroismo barbaro citato dallo stesso Todaro nelle lettere alla moglie Rina (“Il soldato che vince non è mai così grande come quando si inchina al soldato vinto: oggi noi e i nostri nemici, insieme, ci siamo salvati”).

Sorge quasi il dubbio, all’inizio, che il sommergibile Comandante Cappellini non emani un’aura sacra: “non si può mai sapere” ripete Favino prima di immergersi ai suoi sottoposti, uno ad uno, proprio come fosse un sacerdote, come se la preparazione alla tratta marittima e il monito di poter non tornare vivi avesse carattere liturgico. Una liturgia frenata da un monito duro e secco del capitano (“Chi piange lo butto in mare!”) che gioca ovviamente con il suo cambiamento successivo e la scelta di salvare la flotta belga, disobbedendo alle leggi militariste imposte dal regime fascista

Lo scontro con il piroscafo mercantile belga

Favino – ora in scena con accento veneto dopo aver recitato con accento mediorientale in Nostalgia di Martone – interpreta con il suo solito e grande carisma un personaggio dotato di una forza d’animo tale da preferire l’etica alle spietate norme belliche e qui arriva, ovviamente, l’elefante nella stanza: le domande in conferenza stampa hanno subito fatto riferimento a quanto sta accadendo ora, probabilmente proprio in questo momento, nel Mar Mediterraneo; l’analogia con la questione porti aperti? o porti chiusi? è lapalissiana, ma il film ha la forza in grado di soddisfare tutte le premesse e di mantenere le altrettante promesse?

Premesse e promesse

E’ vero che, per chi desidera trovarlo, non è difficile individuare il nesso con la questione migratoria contemporanea, ma se si va a fondo della sceneggiatura di Comandante emerge che, in realtà, il legame è esclusivamente extratestuale e abbastanza forzato: il film non pare avere una scrittura in grado di reggere sulle spalle una tematica di tale portata dal momento che, nonostante 120 minuti a disposizione, né la flotta italiana né quella belga sono mai indagate a fondo (per non parlare del fatto che nel film i primi ad attaccare sono i belga, che sarebbero invece dovuti restare neutrali nel conflitto mondiale, come sottolineato da Todaro); il rischio di scadere nella retorica degli “italiani brava gente” è concreto (“Siamo italiani!” esclama fieramente il capitano), ed è un peccato che non si sia riusciti ad approfondire la psicologia dei personaggi. Allo scorrere dei titoli di coda si ha la sensazione di non sapere quasi niente dei protagonisti, a partire dai loro rapporti con le rispettive mogli, indagati a inizio film (per non dire appena accennati) e mai più ripresi. Era interessante anche vedere come sarebbe stato portato avanti il tema del costante isolamento a cui sono obbligati i marinai, sempre pedinati dal rischio di morire in mare con conseguente oblio dei loro corpi sepolti sotto la sabbia; in effetti, forse, questa fobia degli uomini di mare è l’argomento che emerge di più dallo script di Carmine Guarino (lodevole la scelta di non lesinare nemmeno visivamente sulla loro sofferenza fisica), sebbene l’onnipresente voice over che ha l’intento di fare emergere i loro pensieri toglie potenza poetica alle sequenze più tese, dove il completo silenzio interrotto soltanto dal frangersi delle onde del mare avrebbe suggerito ancora di più il clima paradossalmente claustrofobico e di segregazione a cui li costringe il mare aperto.

L’interno del sommergibile Comandante Cappellini

Fa riflettere, inoltre, che in un film che affronta con tono solenne e con passo austero questioni tanto spinose anche per il contemporaneo, le parti capaci di solleticare per pochi minuti le emozioni degli spettatori siano quelle comedy, in particolare quelle che coinvolgono il cuoco della flotta (ma più in generale tutta la parte culinaria: c’è un divertente sipario dove protagoniste sono le patatine fritte belga).

De Angelis è dotato di buonissima tecnica e la direzione degli attori è ottima, ma il sottotesto del film risulta essere abbastanza banale, scarno di riflessioni e mai affrontato col mordente di penna necessario ad avviare per davvero una riflessione sensata sull’approccio umanista e solidarista del capitano.

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Alberto Faggiotto,
Caporedattore.

August 31, 2023
The Killer – Teaser trailer del nuovo film di David Fincher

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Il primo trailer del prossimo attesissimo thriller di David Fincher è finalmente arrivato. Il regista infatti, dopo il film Mank e la serie TV Mindhunter, è tornato a collaborare con Netflix che ha pubblicato sui vari social un primo sguardo alla pellicola.

Il film si intitola The Killer e sarà presentato in concorso al Festival Di Venezia 2023 che avrà inizio proprio oggi e si prolungherà fino al 9 settembre. (per leggere di più sul programma del Festival clicca qui).

TRAILER IN ITALIANO

TRAILER IN ORIGINALE

Nel trailer vengono mostrati meglio alcuni personaggi ma a farla da padrone è Michael Fassbender (Shame) che interpreta il protagonista della pellicola. Oltre ai vari personaggi vengono mostrate immagini eleganti e glaciali che rivelano qualche dettaglio in più sulla trama del film.

Sinossi ufficiale:

Dopo un tragico incarico quasi fallito, un assassino affronta i suoi mandanti e se stesso in una caccia all’uomo internazionale che crede non sia affatto personale.

A completare il cast assieme a Fassbender vi sono Tilda Swinton (The French Dispatch), Charles Parnell (Spiderhead), Arliss Howard (Mank) e Sophie Charlotte (Passaporto per la libertà).

Il film è basato sull’omonimo fumetto francese di Alexis Nolent e la sceneggiatura è stata adattata da Andrew Kevin Walker che segna la seconda collaborazione con Fincher dopo il thriller Seven (1995).

La regia, come detto precedentemente, è affidata a David Fincher che si è visto entusiasta di sviluppare questo progetto assieme a Walker e Fassbender.

Diventato ormai un colosso del cinema contemporaneo, Fincher è pronto a stupirci nuovamente dopo aver diretto opere favolose come Zodiac, Fight Club o The Social Network.

Prodotto da Paramount Pictures, Archaia Entertainment, Boom! Studios, Panic Pictures e Plan B Entertainment, The Killer, dopo il Festival Di Venezia 2023, sarà distribuito da Netflix in alcuni cinema selezionati a partire da ottobre, mentre sarà poi disponibile in esclusiva proprio su Netflix a partire dal 10 novembre 2023.

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Michael Pierdomenico,
Redattore news.

August 30, 2023
#38 Strade Perdute – Oppenheimer di Christopher Nolan

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LINK ALL’EPISODIO

In questo trentottesimo episodio di Strade Perdute – il primo della terza stagione – Alessandro e Jacopo, insieme ai loro ospiti dalla redazione Luca e Anna, analizzano a caldo l’ultima fatica di Cristopher Nolan, nonchè uno dei film più attesi dell’anno: Oppenheimer.

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August 29, 2023
Recensione Oppenheimer – Parabola dell’ingegno umano

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La figura fondamentale e complessa di Robert J. Oppenheimer affascinava Christopher Nolan da prima dell’uscita del libro biografico American Prometheus datato 2005. Prendendo le mosse da questa e da un volume di discorsi del fisico regalatogli da Robert Pattinson sul set di Tenet, Christopher Nolan confeziona Oppenheimer, uno dei film più attesi del 2023, già tra i maggiori campioni d’incasso globale dell’anno (in Italia è uscito un mese dopo che nella maggior parte del mondo), e lo fa promuovendo al ruolo di protagonista gli occhi cerulei e del sodale Cillian Murphy suo abituale collaboratore in ruoli secondari o da villain.

L’uomo e la storia

Il biopic di Nolan si muove sul doppio binario della realtà soggettiva e della realtà storica – rappresentate a colori la prima, in bianco e nero la seconda – . La prima rintraccia i decenni di vita di Robert Oppenheimer dagli anni Venti al secondo dopoguerra e oltre: brillante fisico teorico, incidentale simpatizzante di movimenti comunisti e, in seguito, direttore scientifico del Progetto Manhattan, volto alla realizzazione del primo ordigno nucleare. Nella seconda è una figura ricordata più che presente, al centro dell’ossessiva vendetta personale di Lewis Strauss (Robert Downey Jr., in un raro ruolo da antagonista), ambizioso politico con mire al Congresso, che vede in Oppenheimer causa di umiliazioni e insuccessi.

Oppenheimer segue più di vent’anni di storia americana, a cavallo tra un mondo ormai tramontato e uno nuovo, minacciato dalla spada di Damocle dell’annichilimento totale. Il resoconto di nomi e di fatti si riduce talvolta a mero nozionismo, ma l’importante non è l’aderenza alla cronaca quanto il ritratto di un individuo schiacciato dalla reazione a catena di scelte individuali e collettive, e dal contesto storico e politico in cui tali scelte si compiono. I personaggi secondari, soprattutto la moglie Kitty (Emily Blunt) e l’attivista comunista Jean Tatlock (Florence Pugh) sono appiattiti sullo sfondo dell’ego geniale e smisurato dell’uomo “più importante mai vissuto”. Ma se l’ambizione e la successiva presa di coscienza del moderno Prometeo vengono filtrate e messe a nudo, esposta è pure l’arroganza di un’intera nazione, gli Stati Uniti d’America, che decide chi deve vivere e chi deve morire per freddo calcolo o capriccio personale. Oppenheimer rifiuta la concezione di eccezionalismo americano, e rifiuta la celebrazione di una Storia vista come reazione a catena di ego (maschili) e meschinità politiche, il cui frutto è la possibilità materiale di distruggere l’umanità intera.

Distruttori di mondi

Il fatto che, nei suoi film più celebrati, Christopher Nolan abbia sperimentato le possibilità dell’intreccio in contesti perlopiù fantascientifici, non deve far trascurare la sua passione per l’analisi dell’identità umana. E nella storia di Oppenheimer ha trovato terreno fertile per intrecciare alcuni dei suoi temi ricorrenti – l’origine delle idee, l’ambizione che diventa ossessione, il tempo – con un’inquietudine inedita per gli incubi della Storia e per il lato più oscuro della mente e una profonda ambiguità – pur con tutti i suoi limiti: la sottigliezza non ha mai figurato tra le caratteristiche principali del suo Cinema. Il dodicesimo film di Nolan è un capitolo anomalo nella sua filmografia: non il più sperimentale, ma il più politico e introspettivo. Come e più di Dunkirk, Nolan si dimostra capace di sfidare i preconcetti dello spettatore sui suoi stessi stilemi e ha realizzato un’epica storica che è già tra le opere migliori della sua carriera.

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Valentino Feltrin,
Redattore.

August 27, 2023
Maestro – Teaser trailer del film su Leonard Bernstein di e con Bradley Cooper

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Sono finalmente approdate online le prime immagini di Maestro, uno dei film più attesi della prossima stagione cinematografica, che verrà presentato in concorso al Festival di Venezia 2023 e arriverà poi su Netflix a dicembre.

Si tratta della seconda regia per Bradley Cooper, dopo il successo di A Star is Born con Lady Gaga. Questo nuovo biopic rimane sempre in ambito musicale, raccontando la vita del grande compositore e direttore d’orchestra Leonard Bernstein, celeberrimo per le musiche di West Side Story e per la sua esuberante personalità.

TEASER TRAILER ORIGINALE

TEASER TRAILER ITALIANO

Come mostrato dal primo teaser trailer pubblicato sugli account ufficiali di Netflix, la storia parte in bianco e nero, dall’incontro di Bernstein con la futura moglie, l’attrice e attivista Felicia Montealegre Cohn, interpretata da Carey Mulligan, e prosegue a colori col successo del compositore e la scoperta della moglie della sua omosessualità (di cui nella realtà era già a conoscenza).

Ciò che sorprende è la camaleontica trasformazione di Bradley Cooper in Leonard Bernstein, che è solo una delle premesse ad un film che sembra già eccellente, sulla scia di altri biopic in bianco e nero o misti colore/bianco e nero di Netflix come Mank e Blonde.

La sinossi del film: “Maestro racconta la complessa storia d’amore tra Leonard Bernstein e Felicia Montealegre Cohn Bernstein, una storia che abbraccia oltre 30 anni – dal loro incontro nel 1946 a una festa e poi continuata attraverso due fidanzamenti, un matrimonio di 25 anni e tre figli: Jamie Bernstein, Alexander Bernstein e Nina Bernstein Simmons.”

Grazie anche al ringiovanimento digitale dei due protagonisti, il film attraverserà trent’anni della vita del grande compositore e direttore d’orchestra, dal suo debutto nella New York Philarmonic a soli 25 anni fino a quando compose la colonna sonora di Fronte del porto di Elia Kazan, che gli valse una nomination all’Oscar.

Accanto a Cooper e Mulligan troviamo Maya Hawke che interpreta la loro figlia Jamie e Sam Nivola che interpreta il loro figlio Alexander. Nel cast anche Matt Bomer, Sarah Silverman, Gideon Glick, Gabe Fazio, Eric Parkinson, William Hill, Nick Blaemire, Oscar Pavlo, Tim Rogan e Mallory Portnoy.

I produttori di Maestro sono Martin Scorsese e Steven Spielberg, con la sceneggiatura firmata da Bradley Cooper e dallo sceneggiatore premio Oscar di Spotlight Josh Singer, mentre Matthew Libatique, già collaboratore del regista in A Star Is Born, è tornato come direttore della fotografia.

Maestro verrà proiettato in anteprima mondiale il 2 settembre 2023 in concorso alla 80ª Mostra internazionale d’arte cinematografica di Venezia. Successivamente sarà proposto in distribuzione limitata nelle sale statunitensi dal 22 novembre dello stesso anno, prima di essere reso disponibile su Netflix 20 dicembre 2023.

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Enrico Borghesio,
Redattore news.

August 17, 2023