FRAMES CINEMA

Category: Archivio

Tutti gli articoli usciti su Framescinema in questi anni

  • #45 Strade Perdute – Fernando Di Leo: Noir all’italiana

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    LINK ALL’EPISODIO

    In questo quarantacinquesimo episodio di Strade Perdute Jacopo, Luca e Nicolò analizzano l’informale Trilogia del Milieu del Maestro del cinema noir/poliziesco italiano: Fernando di Leo.

    Buona ascolto!

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

  • Due film per lo stesso personaggio: Nicolas Cage in Bringing Out The Dead e Mandy

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    Cosa possono avere in comune due opere tanto diverse e appartenenti a periodi storici così lontani come Bringing out the dead e Mandy? Martin Scorsese e Panos Cosmatos non sembrano avere molto da condividere, così come le atmosfere malinconiche e l’esistenzialismo del primo cozzano decisamente con la follia psichedelica e la violenza del secondo. C’è un solo ponte che lega questi due film, la presenza ingombrante e fondamentale di un personaggio protagonista alla costante ricerca di uno scopo, interpretato in entrambi da un incredibile Nicolas Cage.

    Il paramedico che non riesce a salvare nessuno

    Bringing out the dead (in Italia Al di là della vita) è un film del 1999, scritto da Paul Schrader e diretto da Martin Scorsese, che sceglie Nicolas Cage per interpretare il protagonista. Frank è un paramedico di New York, e le nottate passate nei lunghi servizi in ambulanza lo stanno distruggendo sempre di più. Dopo aver commesso un fatale errore nel tentativo di rianimare una giovane senzatetto, da mesi Frank non riesce a salvare nessuno, e la sua vita sta piano piano precipitando nella depressione più totale.

    Un barlume di speranza arriva quando, dopo la chiamata per un uomo in arresto cardiaco, Frank conosce la figlia del paziente, Mary, e la sua travagliata storia con il mostro della tossicodipendenza. Sarà proprio la giovane Mary a ricondurre Frank alla realtà, riportando indirettamente un significato alla sua esistenza.

    Tuttavia, per ricominciare a vivere, Frank sarà costretto a lasciare andare qualcosa. Il padre di Mary, nonostante i mille tentativi di salvarlo, finirà per soccombere al suo grave problema cardiaco, non importa quante volte Frank tenti di riportarlo in vita sul letto d’ospedale. Il nostro protagonista dovrà imparare che attaccarsi al passato e ai suoi errori finirà per distruggere il suo futuro. E il finale ci dimostra come, in cambio di una vita che scompare ne arriverà un’altra da salvare: infatti, nell’ultima parte del film, Frank riuscirà a soccorrere un uomo da una caduta mortale, la sua prima vita salvata dopo mesi.

    Il taglialegna con sete di vendetta

    Uscito nel 2018, Mandy è il film più famoso del regista greco Panos Cosmatos, un thriller-horror con punte action disponibile su Amazon Prime Video. I protagonisti, Red e Mandy, interpretati da Nicolas Cage e Andrea Riseborough, sono una coppia che conduce una vita affiatata e pacifica, innamorati e felici. Il loro piccolo paradiso viene, tuttavia, distrutto quando Mandy finisce nel mirino di Jeremiah, il leader di una setta religiosa chiamata “Figli della Nuova Alba”. Con l’aiuto di una banda di motociclisti, Jeremiah ci mette poco a rapire la donna, ferire Red e sottrargli l’amore, tutto ciò che aveva, che riteneva importante e che dava significato alla sua esistenza. La sete di vendetta di Red lo porterà a mettersi sulle tracce della setta, e chi oserà ostacolare il suo cammino dovrà vedersela con la sua balestra.

    Cosmatos trasforma pian piano il personaggio di Red in una sorta di eroe dello slasher, un cacciatore che non si ferma davanti a niente e nessuno per raggiungere la sua preda, il sadico Jeremiah. Inutile dire che il volto di Cage sarà ben presto ricoperto di sangue. Qui non si tratta di salvare nessuno se non il proprio orgoglio e l’onore di una persona amata scomparsa troppo presto. La violenza chiama altra violenza, e il nostro eroe Red non ha alcuna intenzione di lasciare in vita i responsabili della fine di Mandy.

    Le scene finali del film mostrano Red in auto, ricoperto di sangue dalla testa ai piedi, che si volta verso il sedile del passeggero e vede sua moglie seduta accanto a lui mentre fuma tranquillamente una sigaretta. Inutile dire che Red sembra essere impazzito del tutto, i suoi occhi completamente fuori dalle orbite e un sorriso inquietante stampato sul viso. Eppure la scena trasmette una calma quasi surreale, la macchina viene messa in moto e noi salutiamo per sempre questa storia allucinante.

    Frank e Red, cosa state cercando?

    In Bringing out the dead, Frank è disperato, il suo lavoro da paramedico lo distrugge perché non riesce a salvare nessuno. Non ha potuto rianimare quella ragazza e ora ogni suo intervento finisce per concludersi in tragedia, non importa quanto lui si impegni. In entrambi i film i due personaggi si ritrovano a un punto morto, non sanno come agire, né dove andare, hanno perso di vista il significato delle loro vite.

    Ma quando succede qualcosa di totalmente inaspettato, la chiamata di Mary per Frank e il rapimento di Mandy per Red, la loro vita ha una svolta. Perdere il proprio scopo ha distrutto i due personaggi, ma allo stesso tempo ha dato loro nuova forza. Da un lato, un paramedico che ritrova in se stesso la forza per tornare a salvare le persone, dall’altro un uomo completamente prosciugato dell’amore che decide di trovare una nuova forza nella vendetta più pura e più violenta possibile.

    Uguali ma diversi, sono entrambi uomini disperati alla ricerca di una redenzione, disillusi, angosciati, tormentati dal senso di colpa e profondamente depressi, traumatizzati da una perdita che non hanno potuto evitare. Due diversi modi di affrontare una situazione di immobilità e di dolore. Frank non abbandona la propria vocazione da paramedico nonostante le tragedie che continuano ad accadere davanti ai suoi occhi, ma decide di capire il vero significato che sta nel salvare una vita; così ha modo di tornare alla realtà e di uscire dalla spirale di dolore che lo stava lentamente risucchiando. Red, d’altro canto, non ha più neanche una vocazione, o meglio ha trovato nella vendetta pura la sua redenzione; ma la vendetta porta sempre con sé un prezzo, e in questo caso sarà precipitare nella follia, alla guida di un’auto che si perderà nel bosco e forse non farà più ritorno.

    Si può dibattere su quale delle due strade sia quella “giusta”? Certo, eppure né Scorsese né Cosmatos si sentono di giudicare i propri protagonisti. Perché dovremmo farlo noi?

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    Renata Capanna,
    Redattrice.

  • Steven Spielberg e il rapporto con la tecnologia

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    Nel suo ultimo film The Fabelmans (2022), il cineasta Steven Spielberg fa pronunciare a Mitzi Fabelman (Michelle Williams), madre del protagonista Sammy (Gabriel LaBelle), queste parole capitali: “I film sono sogni che non dimenticherai mai”. La meraviglia che si prova quando si entra nella sala cinematografica, quando si vede un film per la prima volta o per la centesima, quando si tiene il fiato sospeso tra una scena e l’altra: questo stupore è racchiuso non solo nella frase di Mitzi, ma anche in un lungometraggio attraverso il quale Spielberg ha saputo farci entrare nella sua mente di regista, sceneggiatore e, soprattutto, di cinefilo perennemente meravigliato. 

    La carriera di Steven Allan Spielberg, nato a Cincinnati il 18 dicembre 1946, inizia con una macchina da presa 8mm e un piccolo studio di montaggio situato nella sua cameretta di bambino: da allora, la sua produzione artistica è andata evolvendosi nel corso dei decenni, abbracciando, soprattutto, le innovazioni tecnologiche che hanno fatto breccia nell’industria hollywoodiana. Pur rimanendo fedele alle sue radici, Spielberg ha saputo cogliere con lungimiranza le possibilità artistiche offerte dalla tecnologia declinandole all’interno di un’opera filmica complessa e sfaccettata che spazia, con sapienza, da un genere all’altro. 

    Dall’invisibilità alla visibilità: squali meccanici e dinosauri in CGI

    È ben nota la travagliata storia produttiva del film che ha segnato una svolta decisiva nella carriera di Steven Spielberg. Nel 1975, in 159 giorni, il regista di Cincinnati realizza Lo squalo, lungometraggio che s’inserisce a pieno titolo nella sensibilità della New Hollywood che rigetta i modelli narrativi tradizionali, cogliendo le nuove esigenze di registi, desiderosi di imporre la propria marca autoriale, del pubblico, e della società immersa nello spirito della controcultura e della ribellione verso i canoni impartiti dalla generazione precedente. Lo squalo, in particolare, consente allo spettatore di incorporare la prospettiva del predatore che assedia la cittadina balneare dell’Isola di Amity, nel New England: accompagnato dalle inquietanti note da Oscar del compositore John Williams, il terribile squalo bianco segna panico e morte fra turisti e abitanti. Eppure, dello squalo in carne e ossa si vede poco e niente: i tre squali meccanici realizzati dal dipartimento artistico accusano diversi malfunzionamenti durante le riprese; emblematico il giorno del collaudo, durante il quale lo squalo si adagia sul fondale poiché il sale aveva corroso la sua struttura meccanica. Ma è proprio da questi problemi che Spielberg riesce a elaborare un personaggio iconico nella storia del cinema: di fatto, nonostante la sceneggiatura preveda una presenza più consistente dello squalo davanti alla macchina da presa, il regista sceglie di far prevalere la sua presenza invisibile, percepibile sia attraverso la soggettiva sia mediante il tema musicale di Williams. In questo senso, Spielberg riesce a declinare i problemi tecnologici entro soluzioni stilistiche e di linguaggio che hanno avuto un consistente impatto nell’immaginario collettivo e nella storia del cinema. 

    Diciotto anni dopo, Spielberg decide di spingersi oltre nell’uso della tecnologia, impiegando la neonata tecnica della computer-generated imagery della Industrial Light & Magic accanto alla creazione di soggetti animatronici. Con Jurassic Park (1993), il cineasta segna un punto di svolta nell’industria cinematografica, poiché la tecnica della CGI viene per la prima volta fruita in un film ad alto budget subito dopo Tron (Steven Lisberger, 1982), film Disney che per primo tratta la realtà virtuale come cardine della narrazione e impiega la tecnologia della CGI. I dinosauri del Jurassic Park, che si ribellano al loro creatore e fuoriescono dai loro recinti, incarnano tutte le potenzialità dell’animazione in grafica computerizzata, la quale si integra realisticamente con le riprese in live action: tali innovazioni saranno fondamentali per tutti quei prodotti che, ad oggi, caratterizzano i film ad alto budget come le produzioni della Marvel Studios. 

    Motion Capture

    Oltre alla realizzazione di soggetti animatronici, Steven Spielberg ha colto, nel corso della sua carriera artistica, le possibilità offerte da una tecnologia come la motion capture. Pur non essendo annoverato fra i registi che hanno avuto un impatto considerevole nello sviluppo di tale tecnica – come Peter Jackson con la saga de Il signore degli anelli (2001-2003) o Robert Zemeckis con Polar Express (2004) o Beowulf (2007) – il cineasta ha saputo declinare la motion capture per raccontare storie avventurose e fantastiche altrimenti impossibili con le sole riprese in live action. Le avventure di Tintin – Il segreto dell’unicorno (2011), diretto da Spielberg e prodotto da insieme a Peter Jackson e Kathleen Kennedy, è basato su tre albi della serie omonima di Hergé: Il granchio d’oro, Il segreto del Liocorno e Il tesoro di Rackham il Rosso. Progetto approcciato per la prima volta nel 2001, Spielberg, già fan della serie dagli anni Ottanta, sceglie la motion capture per assicurare “integrità creativa” ai personaggi: fondamentali, in tal senso, sono stati i registi James Cameron e Robert Zemeckis, al tempo presenti sul set in quanto esperti del settore, oltre al già citato Jackson. 

    Cinque anni dopo, Spielberg ritorna a far uso della tecnica, dopo l’esperienza con Tintin, per adattare il celebre romanzo di Roald Dahl GGG – Il Grande Gigante Gentile. Nei panni del protagonista troviamo Mark Rylance, la cui performance viene “catturata” e restituita sullo schermo con estrema fedeltà, mostrando come tale tecnologia sia in costante evoluzione all’interno dell’industria produttiva. La cura dedicata all’integrazione fra personaggi “in carne e ossa” – come la protagonista Sofia Tibbs (Ruby Barnhill) – e i “giganti” concepiti dalla mente di Dahl si sposa con l’atmosfera colorata e sognante che Spielberg infonde al suo lungometraggio, la quale non può che far scature un profondo senso di meraviglia allo spettatore. 

    La tecnologia come tema di riflessione: la fantascienza

    Se Spielberg ha saputo abbracciare le innovazioni offerte dalla tecnologia di decennio in decennio, è innegabile che la stessa sia oggetto di riflessione nella sua produzione artistica. Pur spaziando agevolmente da un genere all’altro, la fantascienza riveste un ruolo speciale nella filmografia del regista di Cincinnati: fra i primi lungometraggi realizzati negli anni Settanta ritroviamo, ad esempio, il cult movie Incontri ravvicinati del terzo tipo (1977), film che narra di un ipotetico primo contatto fra l’umanità ed entità extraterrestri. Lo stesso topos viene ripreso e rielaborato secondo uno stile più maturo in E.T. – L’extraterrestre (1982), nel quale la componente fantascientifica viene declinata in una storia più intima, focalizzata sul rapporto d’amicizia fra l’introverso Elliott (Henry Thomas) e una creatura extraterrestre, i cui animatronici sono stati progettati da Carlo Rambaldi. Un terzo “incontro del terzo tipo” sarà tema del più tardo La guerra dei mondi (2005), remake dell’omonimo film del 1953.

    A partire da tale topos, Spielberg si spinge oltre nella sua riflessione sul genere fantascientifico, studiando, in particolare, la relazione tra umanità e tecnica in scenari utopici – o distopici. In A.I. – Intelligenza Artificiale (2001), film basato su un’idea originariamente concepita da Stanley Kubrick, il regista narra l’infelice esistenza di un androide con fattezze di bambino, David (Haley Joel Osment), che viene rifiutato dalla sua famiglia umana di adozione: la sua esistenza sarà votata alla ricerca di un’entità che gli permetta di diventare un bambino vero, in un mondo distopico nel quale intere città sono sommerse dai ghiacci disciolti e l’impiego dei robot viene sollecitato al fine di ridurre la sovrappopolazione. 

    L’anno successivo, Steven Spielberg realizza Minority Report (2002), lungometraggio con protagonista Tom Cruise nei panni del capitano John Anderton, responsabile della sezione Precrimine, un sistema che, in un futuro prossimo, ha debellato gli omicidi con l’impiego di tre soggetti dotati di poteri extrasensoriali in grado di prevedere potenziali “colpevoli”. Così come A.I., Minority Report analizza il concetto di libero arbitrio – nel primo incarnato dal piccolo David che desidera diventare un essere umano – da parte sia degli esseri umani, sia di coloro che sono dotati di un’intelligenza altra. 

    Il punto più estremo della riflessione di Spielberg sulla tecnologia si ritrova, infine, nel 2018, quando il regista dirige l’adattamento cinematografico del romanzo Player One di Ernest Cline (2011). Ready Player One segna non solo il punto di alto dell’uso della tecnologia da parte di Spielberg, ma anche la trattazione del tema della realtà virtuale come luogo comunitario in cui ogni essere umano ha la possibilità di incarnare un’identità e una personalità differente. Seppur non abbia avuto una eco ampia nel dibattito critico e produttivo, Ready Player One è non solo un concentrato di effetti speciali e tecnologia CGI, ma anche un sentito omaggio alla cultura pop degli anni Ottanta e Novanta che lo stesso Spielberg ha contribuito a plasmare. E di cui gli siamo infinitamente grati. 

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    Shannon Magri,
    Redattrice.

  • Recensione Wonka – Il meraviglioso cioccolataio di Dahl

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    Whimsical: insolito e strano in una maniera che può essere divertente o fastidiosa

    (definizione del Cambridge Dictionary)

    Come “Willy” divenne “Wonka”

    Chi di noi non è cresciuto con almeno una versione della storia di Charlie Bucket, Willy Wonka e la sua magica fabbrica di cioccolato? Che si tratti del libro di Roal Dahl (1964), del primo adattamento cinematografico con protagonista Gene Wilder (1971) o della più recente collaborazione tra Tim Burton e il suo attore feticcio Johnny Depp (2005), La fabbrica di cioccolato è una storia che accompagna da decenni generazioni di lettori e spettatori.

    Wonka, al cinema in questo momento, è l’ennesimo esperimento cinematografico che cavalca l’onda nostalgica emersa negli ultimi anni: un prequel, in forma di musical, dedicato alla figura del bizzarro maestro cioccolatiere e alle origini del suo incredibile successo, prima che diventasse capo del suo indiscusso impero. Per emergere nello spietato mondo dell’arte dolciaria, Willy dovrà scontrarsi con un gruppo di industriali senza scrupoli collusi con la polizia locale e cercare di emergere conquistandosi il favore popolare. 

    Al timone di questa operazione, che strizza evidentemente l’occhio più al Wonka con Wilder che a quello di Depp (oltre a riprenderne due canzoni, ripropone anche il design degli Oompa Loompa, le creaturine che aiutano il signor Wonka nella sua fabbrica), abbiamo Paul King, regista di Paddington e Paddington 2, pellicola per un breve periodo ha battuto Quarto potere nella classifica dei film migliori secondo Rotten Tomatoes e che, in Il talento di Mr. C, il personaggio interpretato da Pedro Pascal cita come uno dei suoi preferiti, preferendolo addirittura a Il gabinetto del dottor Caligari.

    A vestire i panni che furono di Wilder e Depp, abbiamo Timothée Chalamet. L’attore ventisettenne, “esploso” con Chiamami col tuo nome e da allora divenuto uno dei volti più conosciuti ed amati della (e dalla) sua generazione, cerca probabilmente di “liberarsi” dal ripetuto casting in ruoli spesso simili a cui è rimasto legato negli ultimi anni. Si tratta infatti della prima volta in cui Chalamet, che ha un passato scolastico di esibizioni in musical, balla e canta al cinema (per la sua performance canora ha ricevuto sia critiche che lodi) e la prima volta in un film diretto principalmente ad un pubblico di bambini.

    Come aveva già avuto modo di fare in The French Dispatch, inoltre, Chalamet sperimenta con stilemi di recitazione esagerati, in sintonia col tipo di mondo abitato dal suo personaggio. Il risultato è per lo più riuscito, pur mancando una certa malevolenza e una doppiezza che erano presenti (neppure troppo) sottopelle nel Wonka di Wilder, qui chiaramente richiamato specialmente in alcune espressioni dell’attore. A volte, tuttavia, l’attore ricade in alcuni dei suoi modi di fare e nelle sue inflessioni più “classiche”, rendendo difficile vedere il personaggio Wonka e non, appunto, Chalamet stesso.

    Dal punto di vista recitativo, merita certamente una menzione anche Hugh Grant (che ha reso molto chiaro quanto poco abbia apprezzato lavorare al film) nella parte dell’Oompa Loompa. Il personaggio appare poco ma fornisce un contraltare divertente specialmente col suo humour “secco” e con la sua attitudine estremamente seria in opposizione a tutte le cose fantastiche che stanno accadendo attorno a sé.

    Più debole, forse, l’interpretazione della co-protagonista Calah Lane, che rende meno riuscite alcune delle scene più emotivamente pregne che la vedono coinvolta con Chalamet. Si tratta comunque di un fatto più che giustificabile, vista la giovanissima età dell’attrice (classe 2009).

    Assurdo Q.B. (Quanto Basta)

    Il problema sopra riportato, a dirla tutta, non è di Chalamet soltanto, ma del film nella sua interezza, che in alcuni frangenti soffre di una certa dissociazione tra intenti e stile.

    Wonka è nella sua forma migliore quando si poggia sull’assurdo e sul whimsical (traducibile come  “stravagante”), riecheggiando lo stile e lo humour di Roal Dahl con alcune trovate genuinamente interessanti ed ispirate. A queste istanze di totale immersione nell’assurdo, tuttavia, non si accompagna sempre una corrispondenza in termini di recitazione o messa in scena, con ricadute nel sentimentalismo hollywoodiano, specialmente nel terzo atto, piuttosto che nell’esagerazione e nella stilizzazione (si vedano come contraltari i film di Wes Anderson o la serie Netflix Una serie di sfortunati eventi). 

    Va comunque apprezzata la scelta di appoggiarsi su un genere, il musical, che ha già in sé un certo seme di esagerazione e di sospensione dell’incredulità (e che per questo, a volte, è difficile da vendere o da “digerire” per certi spettatori). I numeri musicali, oltre a possedere una loro marca stilistica (cosa che non tutti i film musical possono dire di avere), sono diretti in maniera generalmente competente, e le nuove canzoni, scritte da Neil Hannon, non sono particolarmente originali ma sono decisamente orecchiabili, in particolar modo il brano A World of Your Own.

    In ultima analisi, Wonka è un film senza picchi di infamia né di particolare lode, ma svolge bene il suo lavoro di film d’intrattenimento e per le famiglie. Pur ricadendo in alcuni espedienti rivolti ad un pubblico esclusivamente infantile (specialmente alcuni fat jokes), essi non risultano essere sufficientemente frequenti da repellere un pubblico di adulti, che anzi probabilmente troverà di che divertirsi per un paio di ore di spensieratezza.

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    Silvia Strambi,
    Redattrice.

  • Cannes 2024 – Greta Gerwig sarà la Presidente di giuria

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    Greta Gerwig sarà la presidente di giuria della 77ª edizione del Festival di Cannes, che si terrà dal 14 al 25 maggio del 2024. La regista raccoglie il testimone del suo predecessore Ruben Östlund, che nel maggio 2023 ha assegnato la Palma d’oro al thriller Anatomia di una caduta di Justine Triet.

    “Adoro i film. Adoro farli, adoro andarci, adoro parlarne. Come cinefila Cannes è sempre stato l’apice di tutto quello che può essere il linguaggio universale del cinema. Trovarmi in un luogo di vulnerabilità, in un teatro buio pieno di sconosciuti, guardare un film nuovo di zecca è il mio posto preferito dove stare”, queste le dichiarazioni della cineasta dopo l’annuncio ufficiale.

    La Gerwig sarà la prima regista statunitense a presiedere la giuria del prestigioso festival cinematografico francese e rappresenterà anche la seconda persona più giovane a rivestire questo ruolo (dopo Sophia Loren che nel 1966 aveva trentuno anni).

    Nel comunicato stampa, rilasciato sul sito di Cannes, traspare molto entusiasmo per la scelta della nuova presidente. Queste le parole spese per lei:

    “Ieri musa del cinema statunitense indipendente, oggi ai vertici del box-office mondiale, Greta Gerwig riesce in accostamenti ritenuti inconciliabili: realizza blockbuster d’autore, avvicina arte e industria, affronta con finezza e complessità le problematiche contemporanee”

    Anche la presidente del Festival di Cannes Iris Knobloch e il delegato generale Thierry Frémaux si sono espressi a riguardo, sottolineando le motivazioni della decisione:

    “Questa scelta è ovvia in quanto Greta Gerwig incarna audacemente il rinnovamento del cinema mondiale di cui il Festival di Cannes si fa ogni anno sia il precursore che cassa di risonanza”

    Greta Gerwig è stata attrice e sceneggiatrice di diversi film molto noti, ma ha esordito alla regia nel 2017 con Lady Bird, ricevendo il Golden Globe per il miglior film commedia o musicale. Nel 2019 ha diretto Piccole Donne e nel 2023 è stata al timone di Barbie, ottenendo incassi vertiginosi e critiche controverse. I prossimi lavori della regista saranno un live-action di Biancaneve e i sette nani e un adattamento prodotto da Netflix de Le cronache di Narnia di C. S. Lewis.

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    Maria Cagnazzo,
    Redattrice.

  • Trailer IF: Gli amici immaginari – La nuova commedia di John Krasinski con Ryan Reynolds

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    Paramount Pictures ha da poco rilasciato il primo trailer ufficiale di IF – Gli amici immaginari, ovvero la nuova pellicola di John Krasinski (autore della saga horror di A Quiet Place) con protagonista Ryan Reynolds.

    LINK TRAILER IN ITALIANO:

    LINK TRAILER LINGUA ORIGINALE:

    Nel trailer spiccano i toni della commedia familiare ma a rubare la scena è la presenza degli IF, ovvero creature che rappresentano gli amici immaginari dei bambini..

    Trama del film:

    Racconta la storia di un uomo che possiede il dono di vedere e sentire le voci degli amici immaginari degli altri che proprio per questo sembrerebbero esistere realmente.

    Le persone però, una volta cresciute, si allontanano da quegli amici immaginari, abbandonandoli e mettendoli da parte per far posto agli amici reali.

    L’uomo scopre che sono pieni di rancore e teme che tutta questa energia negativa possa mettere a repentaglio il mondo reale.

    Nel cast troviamo i volti di Ryan Reynold e Cailey Fleming (The Walking Dead) che si notano anche nel trailer, ma oltre a loro due nel cast originale troviamo le voci e i volti di attori di fama mondiale come Steve Carell che torna a lavorare con Krasinski dopo la serie TV The Office, Phoebe Waller-Bridge, Matt Damon, Maya Rudolph, Vince Vaughn, Sam Rockwell, Awkwafina e Emily Blunt che continua a collaborare con il marito Krasinski dopo il successo di A Quiet Place e con Matt Damon dopo aver lavorato insieme a Oppenheimer.

    Il film, come detto in precedenza, è diretto da John Krasinski che oltre ad essere regista appare anche come sceneggiatore e direttore della fotografia.

    Tra le produzioni appaiono Paramount Pictures, Maximum Effort, Platinum Dunes e Sunday Night.

    Non è ancora stata fissata una data d’uscita ma il film dovrebbe arrivare nelle sale a maggio 2024. Perciò non ci resta che attendere altre notizie e per non perdervi nulla, potete seguirci sui vari profili social.

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    Michael Pierdomenico,
    Redattore.

  • National Film Registry 2023 – Nuovi ingressi

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    Ogni anno il National Film Registry della Biblioteca del Congresso di Washington seleziona 25 nuovi film da aggiungere alla sua lista. Recentemente sono stati comunicati in nuovi ingressi del 2023, tra cui figurano pellicole molto diverse tra loro e distanti per contenuto, genere, temi ed epoca di produzione. 

    I film più famosi tra quelli introdotti sono senz’altro il thriller di James Cameron Terminator 2: Il giorno del giudizio e il cult delle feste Mamma ho perso l’aereo, accompagnati dallo stop motion prodotto da Tim Burton The Nightmare Before Christmas e il film premio Oscar 12 anni schiavo, ma la forbice delle pellicole include si allarga a quasi cento anni, dal cortometraggio del 1921 A Movie Trip Through Filmland al documentario premio Oscar 2013 20 Feet from Stardom.

    C’è tanta Hollywood con Apollo 13 di Ron Howard, il classico Disney Lilli e il Vagabondo,  Bamboozled di Spike Lee, e Saranno famosi (Fame) di Alan Parker, e ancora Cercasi Susan disperatamente con Madonna, lo storico Matewan su un doloroso fatto di cronaca americana e il cult sportivo Love and Basketball. 

    Sono presenti anche diversi film che onorano la comunità asiatica americana: ‘Cruisin’ J-Town che racconta la scena jazz nella Little Tokyo di Los Angeles; la Bohulano Family Film collection è un affresco di vita domestica dagli anni ‘50 agli anni ’70 a Stockton, il distretto filippino della California; il documentario Maya Lin: A Strong, Clear Vision narra le vicende dell’ideatrice del Memoriale ai Veterani del Vietnam a Washington, D.C..

    I film inclusi nel National Film Registry sono selezionati dal comitato dell’NFPB (National Film Preservation Board) con l’obiettivo di preservarli presso la Biblioteca del Congresso di Washington D.C., la più autorevole sede della memoria statunitense. La scelta spetta alla Bibliotecaria del Congresso Carla Hayden insieme ai membri del National Film Preservation Board, che effettuano le selezioni.

    Carla Hayden dichiara: «I film sono parte integrante del patrimonio culturale americano e riflettono le storie della nostra nazione da oltre 125 anni. Siamo orgogliosi di aggiungere 25 film diversi al National Film Registry e di preservare la nostra storia attraverso il cinema. Siamo grati alla comunità cinematografica per aver collaborato con la Biblioteca del Congresso nel nostro obiettivo di preservare il patrimonio cinematografico per le generazioni a venire».

    L’istituzione è nata nel 1988 e da allora, ogni anno, seleziona fino a un massimo di 25 titoli ritenuti “culturalmente, storicamente o esteticamente significativi” per preservarli al fine di sensibilizzare la salvaguardia del patrimonio cinematografico americano. La condizione principale per poter candidare un film è che il suo esordio al cinema deve essere avvenuto almeno 10 anni prima della sua selezione, e che abbiano segnato in ogni caso l’immaginario del ventesimo-ventunesimo secolo. Ora ci sono 875 film nel registro.

    Segue la lista completa dei film inseriti quest’anno (in ordine cronologico e con titolo in lingua originale):

    • A Movie Trip Through Filmland (1921)
    • Dinner at Eight (1933)
    • Bohulano Family Film Collection (1950s-1970s)
    • Helen Keller: In Her Story (1954)
    • Lady and the Tramp (1955)
    • Edge of the City (1957)
    • We’re Alive (1974)
    • Cruisin’ J-Town (1975)
    • ¡Alambrista! (1977)
    • Passing Through (1977)
    • Fame (1980)
    • Desperately Seeking Susan (1985)
    • The Lighted Field (1987)
    • Matewan (1987)
    • Home Alone (1990)
    • Queen of Diamonds (1991)
    • Terminator 2: Judgment Day (1991)
    • The Nightmare Before Christmas (1993)
    • The Wedding Banquet (1993)
    • Maya Lin: A Strong Clear Vision (1994)
    • Apollo 13 (1995)
    • Bamboozled (2000)
    • Love & Basketball (2000)
    • 12 Years a Slave (2013)
    • 20 Feet from Stardom (2013)

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    Edoardo Borghesio,
    Redattore.

  • 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.

  • Recensione Ferrari – Una famiglia condannata

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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.

  • Dopo 26 anni, Funny Games è ancora un capolavoro senza tempo

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    In psicologia esiste un concetto tuttora controverso per quanto riguarda le applicazioni cliniche ma che gode comunque di una definizione condivisa: la pulsione di morte (Thanatos). Un’idea freudiana piuttosto conosciuta, l’opposto di Eros (l’istinto di sopravvivenza, la ricerca del piacere), una forza autodistruttiva che ci spinge verso la non-esistenza, verso la morte, appunto, ma allo stesso tempo una spinta pulsionale che ci riconduce irrazionalmente a una trapasso concepito come nuda e cruda assenza di vita, e come tale osservata con sguardo distaccato, a tratti placido e a tratti aggressivo, in base all’individuo. Thanatos (così come Eros) si manifesta quotidianamente nei modi più disparati, in forme varie, inaspettate, spesso senza preavviso, è un substrato di depravata fascinazione che ci può spingere a consumare contenuti perversi, urticanti. Un concetto ben conosciuto dai media che con la cronaca nera lucrano sull’attrazione dell’Uomo verso il macabro, narrando (e narrativizzando) le sciagure umane attraverso la parola e le immagini, riproponendo frammenti di omicidi, riavvolgendo il nastro delle oscenità, dando i filmati in pasto a un pubblico complice di questo meccanismo manipolatorio. Funny Games parla di tutto questo, e non solo, tanto nel contenuto quanto nell’approccio metacinematografico.

    I due assassini Paul e Peter

    Il film del 1997 di Michael Haneke, ‘remakizzato’ shot-to-shot dieci anni dopo in America dallo stesso regista, torna al cinema grazie a I Wonder Classics e a distanza di ventisei anni scuote ancora le sale spiazzando di nuovo il pubblico con la stessa potenza (e prepotenza) degli anni novanta, come l’urlo improvviso di “Bonehead” dei Naked City squarcia la sequenza d’apertura al comparire del titolo: l’incipit è una dichiarazione d’intenti perché il capolavoro di Haneke, al pari delle due pulsioni che caratterizzano la nostra vita quotidiana, gioca interamente su due piani che di tanto in tanto si intersecano con un’invasione di campo, la stessa dei maniaci assassini Paul e Peter (Arno Frisch e Frank Giering) nella dimora benestante di Anna, Georg e il figlio Schorschi (Susanne Lothar, Ulrich Mühe e Stefan Clapczynski) dando sfoggio di qualsiasi aberrazione passi loro per la testa.

    Questa continua giustapposizione fra placido e orrorifico, quiete e tempesta, Eros e Thanatos, crea un effetto di straniamento disarmante per quanto realistico. Questo strano accostamento e il conseguente sentimento di disagio nascono già dalla recitazione impartita da Haneke1, che suggerì agli assassini di recitare come fossero in una commedia e alle vittime come in un dramma, generando un clima dissonante e inquietante che permea tutto il film e che priva i due criminali d’ogni carattere d’umanità. Con il loro portamento mansueto e la divisa bianca da golfisti, Paul e Peter sono figure quasi astratte, archetipi del Male assoluto, eppure estremamente realistici, concreti.

    Nel 2007 Ulrich Mühe è deceduto per un tumore allo stomaco, mentre Susanne Lothar ci ha lasciato appena cinque anni dopo per cause tuttora ignote

    Così Funny Games non è soltanto un home invasion ma travalica i generi, trapassa il confine fra schermo e realtà riflettendo sul cinema e al contempo sul nostro mondo. L’indagine sulla realtà si tramuta in un trattato sull’etica dello sguardo (non distante da ciò che farà Jordan Peele 25 anni dopo con Nope, sebbene legato alla società dello spettacolo) grazie alle due sequenze apparentemente banali ma teoricamente fondamentali, prima quella della rapida occhiata in camera di Paul per cercare la complicità dello spettatore che come un voyeur sta seguendo inerme le violenze, poi l’epocale rewind che ‘riavvolge il nastro’ proprio come se stessimo interagendo con una vhs o un dvd (a cui seguirà la battuta di uno dei due pazzi assassini dopo aver gettato il corpo di Anna dalla barca: “ma questo si vede nel film?”).

    Lo sguardo d’intesa con lo spettatore

    Il rapporto realtà-rappresentazione è un’ossessione che attraversa praticamente tutto il cinema del regista austriaco, partendo da Benny’s Video e arrivando a Niente da nascondere, ma qui l’approccio ‘meta’ permette al film di abbattere completamente le barriere cinematografiche, andando oltre al lavoro teorico sul semplice medium e parlando direttamente alla coscienza del pubblico. Il gusto di riavvolgere, indugiare con ossessione sui particolari, ricercare compulsivamente la violenza senza averne mai abbastanza guidati da una sete insaziabile: fin dove può spingersi lo sguardo dello spettatore in un mondo con le atrocità a portata di click? Fin dove è moralmente giustificata la curiosità? Per questo è giusto sentirsi in colpa guardando Funny Games, è naturale come la pulsione di morte che ci permette di trarre godimento dalle immagini, spostando sempre un po’ più in là l’asticella della moralità.

    Il volto consumato di Anna

    Funny Games è l’amico scomodo a cui torni a far visita ogni tanto, un compagno di vita sempre pronto a creare il malessere di cui sei testimone e la violenza di cui sei complice. Un’amicizia fondata sul disagio, un legame difficile da sopportare, eppure sempre sincero, che torna ciclicamente senza bussare alla porta. Lo fa per il nostro bene, fungendo da campanello d’allarme, dandoci uno schiaffo per svegliarci dal torpore. L’etichetta di “cult” gli sta stretta, implicherebbe un’importanza legata a questioni contingenti, così come quella di “film dell’orrore”. No, Funny Games non è solo un cult e non è soltanto un film horror, è un capolavoro assoluto, di quelli senza tempo, perché proprio il tempo non scalfisce mai il suo carico teorico. Fidatevi, se non avete mai conosciuto questo strano soggetto che vi scruterà con aria di sfida dalla soglia della sala, fatevi coraggio e fiondatevi al cinema. Se invece già da tempo coltivate quest’amicizia malsana ma necessaria allora non perdete l’occasione di mantenere saldo il rapporto, non lasciate che si eroda, probabilmente l’amico arrogante avrà ancora tante cose da dirvi.

    Riferimenti bibliografici:

    1 Haneke, M., 2019, Non ho niente da nascondere. Interviste sul cinema e sulla vita, Il Saggiatore, Milano

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    Alberto Faggiotto,
    Caporedattore.