FRAMES CINEMA

Category: Archivio

Tutti gli articoli usciti su Framescinema in questi anni

  • Live #48: Dracula al cinema

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    Con Luca Orusa, Silvia Strambi e Renata Capanna parliamo del vampiro più famoso di sempre, ideato da Bram Stoker e portato al cinema in tante forme diverse: Dracula!

    Buona visione!

    Potete seguirci qui: https://linktr.ee/framescinema

    Seguiteci su Youtube e Twitch per non perdervi le prossime Live!

  • La filmografia di Bong Joon-ho – Memories of Murder

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    Nell’affrontare diversi generi, sfidare le convenzioni stilistiche e creare ad arte narrazioni avvincenti, Bong Joon-ho ha consolidato negli ultimi anni la sua posizione di vero maestro della cinematografia contemporanea a livello internazionale. 

    Con questo secondo articolo sulla filmografia del regista, continuiamo a esplorare i temi e le tecniche che hanno definito la sua carriera, dall’esordio del 2000 fino al premio Oscar vinto con Parasite, una vittoria che ha segnato un punto di svolta per l’industria cinematografica internazionale, aprendo le porte del mercato statunitense ed europeo a un sempre più ampio ventaglio di opere orientali. 

    Questa serie di articoli vogliono essere una breve guida per districarsi nella filmografia di quello che sarà, con molta probabilità, uno dei registi più importanti della nostra epoca.

    Memories of Murder (2003)

    Memories of Murder è il secondo straordinario lungometraggio di Bong Joon-ho, un’esplorazione senza compromessi dell’ossessione dell’animo umano, racchiusa in un avvincente thriller investigativo. Questo film conferma, dopo l’esordio Barking Dogs Never Bite uscito tre anni prima, l’estro artistico e la portata innovativa del cineasta sudcoreano, sia dal punto di vista registico che da quello tematico.

    L’agghiacciante vicenda narrata, ripresa da un vero fatto di cronaca nera, è ambientata nel 1986. I detective di una desolata cittadina rurale, interpretati da Song Kang-ho e da Kim Roe-ha, scoprono il corpo di una giovane donna uccisa e abbandonata in un campo. Ben presto, questo si scoprirà essere soltanto uno degli omicidi compiuti da uno spietato serial killer. Un giovane poliziotto di Seoul, interpretato da Kim Sang-kyung, arriverà nel paese per dare una mano al dipartimento locale. Con lo scorrere del tempo e con il moltiplicarsi dei casi di omicidio, i tre detective faticheranno a trovare una soluzione, scontrandosi con numerosi vicoli ciechi e mettendo a rischio la loro sanità mentale. 

    La regia di Bong Joon-ho riesce a creare fin da subito un senso di inquietudine costante e un crescendo di tensione che avrà nel cupo e amaro finale il suo culmine, mentre la fotografia di Kim Hyung-ku porta lo spettatore dentro la fredda realtà messa in scena grazie all’utilizzo di colori morbidi e pastosi. Tuttavia il lavoro più interessante fatto dal regista e dagli sceneggiatori sta nella costruzione dei personaggi e nella loro complessità ed evoluzione costante. 

    Il poliziotto interpretato da Song Kang-ho, è un investigatore sfrontato, cinico e insolente, con la tendenza – e il mal celato desiderio – di infrangere le regole pur di arrivare a una presunta verità che riesca a far tornare la pace nel suo paese. Il suo partner arrivato da Seul è totalmente all’opposto: più metodico, arriva dalla grande città con un po’ di sfrontatezza per portare la sua esperienza e aiutare i colleghi “arretrati” del borgo rurale. I co-protagonisti che ci vengono presentati sono, dunque, l’uno l’opposto dell’altro: antitetico è il loro modo di reagire davanti all’orrore, così come le metodologie di indagine utilizzate. Costretti a lavorare insieme e a raggiungere un obiettivo comune, non possono far altro che scontrarsi durante l’intera pellicola; ed è proprio da ognuno di questi scontri che si vengono a creare, di volta in volta, piccoli ma inevitabili cambiamenti nella psiche di entrambi, che alla fine avranno ripercussioni drastiche sulle loro vite, arrivando a devastare la loro mente e a ribaltare anche l’idea che lo spettatore si era fatto di loro durante tutta la visione del film. Il loro scontro dicotomico è il vero motore del film, al pari della ricerca dell’assassino che comunque non passa mai in secondo piano e fa mantenere alta l’attenzione allo spettatore durante tutta la durata.

    È proprio nell’esplorazione dei personaggi che si contraddistingue Memories of Murder da altri thriller simili. Ognuno è alle prese con i propri difetti, le proprie speranze e la crescente disperazione per un caso che appare contemporaneamente a un passo dall’essere risolto ma allo stesso tempo impossibile da chiudere. Il film ci mostra il tributo mentale e fisico che indagare su un orrore di questo tipo richiede ai detective, i personaggi sono costantemente alle prese con i loro limiti, i loro pregiudizi e la loro fallibilità, e così anche chi dapprima sembrava inattaccabile, col tempo si dimostrerà “umano” al pari degli altri.

    Bong Joon-ho ha creato un’opera che tiene gli spettatori sul filo del rasoio, bilanciando i momenti di suspense con quelli più introspettivi, catturando tutta l’assurdità e la brutalità di un’indagine impossibile. Una seconda opera da manuale che fa già presagire una carriera da grande cineasta.

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    Rosario Azzaro,
    Caporedattore.

  • Il libro delle soluzioni – Il trailer del nuovo film di Michel Gondry

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    Il 1º novembre arriverà nelle sale italiane Il libro delle soluzioni, il nuovo film di Michel Gondry. A otto anni da Microbo & Gasolina, il regista francese torna sul grande schermo con un lungometraggio semi-autobiografico e ci racconta quali sono gli effetti dell’eccesso di creatività.

    Gondry mette in scena la storia di Marc (Pierre Niney), un regista in crisi che, licenziato dai produttori del film a cui sta lavorando, si rifugia nella casa in campagna di sua zia e insieme alla montatrice (Blanche Gardin) e l’assistente (Frankie Wallach) prova a terminare la sua opera. Il giovane protagonista ha troppe idee e decide di ordinarle scrivendo Il libro delle soluzioni, per riuscire ad affrontare i dilemmi relativi al lavoro creativo.

    Nel trailer in italiano, recentemente rilasciato, si evince immediatamente la personalità estrosa di Marc e il suo desiderio di sfuggire alle dinamiche rigide della produzione cinematografica. 

    “Imparare facendo” è uno dei consigli che il personaggio interpretato da Niney annota sul suo libro, affermando che questo progetto rappresenta per lui una risposta a qualsiasi conflitto.

    Il film, prodotto da I Wonder Pictures in collaborazione con Unipol Biografilm Collection, è stato presentato in anteprima al Festival di Cannes e ha ricevuto un plauso dal pubblico e dalla critica italiana al Biografilm del 2023. 

    Il regista inoltre, sarà in Italia in occasione della Festa del Cinema di Roma (Roma, 18-29 ottobre), e proprio questo suo ultimo film sarà programmato domenica 22 ottobre alle 20 al Teatro Palladium.

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  • The World of Tim Burton a Torino

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    Tim Burton è a Torino. Il visionario regista di Beetlejuice, Batman ed Edward Mani di Forbice è approdato nella Città della Mole in occasione dell’inaugurazione della mostra monografica a lui dedicata. Il Museo del Cinema ha infatti organizzato un fitto programma per celebrare il cineasta  californiano e il suo personalissimo stile visivo, a partire dall’esposizione di oltre 500 pezzi che ne ripercorrono l’intera carriera, dal primissimo cortometraggio Vincent (1982) alla recente serie Netflix Mercoledì (2022).

    La mostra

    La mostra intitolata The World of Tim Burton è un viaggio nella mente creativa di Tim Burton attingendo direttamente dal suo archivio personale. La biografia artistica del regista nato a Burbank nel 1958 è registrata passo passo attraverso pezzi unici e mai visti prima dislocati in tutti gli spazi del Museo, che assume per l’occasione un aspetto gotico e fiabesco come lo dipingerebbe il regista. Attraverso la mostra sarà possibile rintracciare le origini e l’evoluzione del ricchissimo universo stilistico e tematico di Burton, da Edgar Allan Poe a Lewis Carroll, da Charles Addams al Dr. Seuss, da Ed Wood a Vincent Price.

    Il percorso coinvolge tutto il museo con una particolare ambientazione, e si compone di circa 540 pezzi dislocati in 9 sezioni e tra schizzi, dipinti, disegni, fotografie, concept art, storyboard, costumi, opere in movimento, maquette, pupazzi, bozzetti e installazioni scultoree a grandezza naturale che testimoniano la genesi dello stile visivo espressionista ed onirico del suo autore. Non mancano i contenuti speciali: una fedele riproduzione dello studio personale dell’artista e uno speciale sneak peek di progetti non realizzati, tra cui una serie TV dedicata al Mago di Oz e un adattamento di Romeo & Giulietta.

    Da Batman ad Alice in Wonderland, dal Mistero di Sleepy Hollow al Pianeta delle Scimmie, da Mars Attack! a Sweeney Todd, da La Fabbrica del Cioccolato a Dumbo, fino al recentissimo successo di pubblico su Netflix ispirato alla Famiglia Addams, nella mostra emerge tutta la creatività di Burton, autore del ‘Burtonesque’, stile artistico personalissimo e iconico. E spiccano tutti gli aspetti bislacchi dei suoi protagonisti, in particolare i reietti incompresi, spesso relegati ai margini della società ma che nei suoi film riescono a vivere la propria avventura: Edward Mani di Forbice, la Sposa Cadavere e Jack Skeletron di Nightmare Before Christmas. 

    The World of Tim Burton è stata allestita nei locali del Museo del Cinema di Torino presso la Mole Antonelliana dalla regista e curatrice Jenny He in collaborazione con Tim Burton in persona, ed è stata adattata dal Direttore del Museo Domenico De Gaetano. Dopo l’inaugurazione con il suo protagonista, sarà aperta al pubblico e visitabile dall’11 ottobre al 7 aprile 2024. 

    La cerimonia 

    Il soggiorno torinese di Tim Burton è cominciato martedì 10 ottobre con l’inaugurazione della mostra. È la sua prima volta a Torino, ma «Ne ho sempre sentito parlare — dice il regista — Il museo è un edificio incredibile: appena ho visto l’allestimento della mostra ho provato una sensazione potente, è come entrare in un parco dei divertimenti».

    Poco dopo, in una cerimonia presieduta dal Presidente del Museo del Cinema Enzo Ghigo e dal direttore Domenico De Gaetano insieme al delegato del MIC Vittorio Sgarbi, Tim Burton è stato omaggiato della Stella della Mole, premio di riconoscimento alle eccellenze internazionali del cinema istituito dal Museo di Torino. L’autore è stato poi interrogato dalla stampa su vari temi: la sua filosofia creativa, il suo approccio alla vita, il suo lavoro attuale sul sequel di Beetlejuice con Winona Ryder e Monica Bellucci, sua nuova fiamma, la sua percezione del cinema italiano, nonché le pressanti questioni attuali come lo sciopero degli attori, il politicamente corretto e lo streaming che minaccia la sala.

    «Tutti hanno paura degli incubi — dichiara — Io ho paura delle cose normali. Per esempio da ragazzino mi faceva paura alzarmi e andare a scuola. Ci sono cose che mi hanno sempre reso più nervoso dell’oscurità». E se non fosse mai diventato regista? La risposta, al Corriere della Sera, è spiazzante: «Probabilmente sarei diventato un serial killer». E l’ispirazione artistica invece da dove viene? «Dalle cose più semplici: siamo troppo occupati a fare cose, nel mondo moderno, ma le idee migliori arrivano quando pensi ad altro. E la fantasia mi pare sempre più reale della realtà stessa». Ed è stato influenzato anche il cinema italiano: «Adoravo gli horror di Mario Bava, è stato il primo regista italiano con cui mi sono identificato. Poi è arrivato Fellini».

    A proposito dello sciopero degli attori, spera «che la situazione si sblocchi al più presto»: le riprese della seconda stagione della serie Netflix su Mercoledì con Jenna Ortega sono state interrotte, ma il regista confida di tornare a lavorarci: «adoro questo personaggio perché è molto vicino a me. Anche io sono stato un adolescente “disturbato”. Ero un outsider e un reietto. Questa sensazione non mi abbandona mai». Sul politicamente corretto è critico «È difficile essere scrittore, musicista o comico oggi perché non si possono più dire certe cose, ma questo fa perdere il senso del tutto — commenta — Io sono sempre stato incorrect e non posso cambiare. Spero si torni alla ragione». Sul futuro del cinema invece ha speranza: «La situazione è preoccupante, ma non è così grave: il pubblico ama il cinema, e lo sta dimostrando, casomai il problema è legato al business degli studios».

    I prossimi eventi

    Tim Burton alloggia in una suite al Grand Hotel Sitea di via Carlo Alberto, uno degli alberghi più prestigiosi della città, e mercoledì 11 ottobre sarà protagonista di una masterclass nell’Aula del Tempio del Museo del Cinema. Più tardi introdurrà una proiezione del suo cult del 1988 Beetlejuice, con Michael Keaton, che si terrà al Cinema Massimo in modo da poter accogliere più persone. Per la prima volta in assoluto, inoltre, prima degli eventi Tim Burton sfilerà sul purple carpet (declinazione burtonesca del classico tappeto rosso) per concedere autografi e selfie ai fan che non sono riusciti ad accaparrarsi un biglietto.

    L’iniziativa ha registrato un grande consenso, e gli organizzatori ne sono assai orgogliosi: «Un sogno che si realizza — ha commentato Domenico De Gaetano, direttore del Museo del Cinema e curatore della mostra — Quello di Burton è un personaggio fondamentale perché piace a diverse generazioni, dai più anziani ai giovanissimi». «Il Museo del Cinema ha investito tantissimo in questa mostra — sono le parole del Presidente del Museo Enzo Ghigo — Abbiamo cercato di realizzare un allestimento diverso, accattivante e considerata anche la reazione di Burton, direi che ci siamo riusciti». Infatti Tim Burton ha definito la Mole «una location incredibile che unisce la magia dell’architettura a quella del cinema».

    Per il Museo del Cinema di Torino, ottobre 2023 sarà veramente memorabile: martedì 24 ottobre è atteso il regista premio Oscar Damien Chazelle, autore di cult istantanei come Whiplash e La La Land. Come Kevin Spacey e Tim Burton prima di lui, anche Chazelle riceverà la Stella della Mole, terrà una masterclass e introdurrà la proiezione di un suo film, in questo caso Babylon, eventi tutti quanti sold out a pochi minuti dall’annuncio.

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    Edoardo Borghesio,
    Redattore news.

  • #41 Strade Perdute – Ridley Scott: tre film controversi

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    LINK ALL’EPISODIO

    In questo quarantunesimo episodio di Strade Perdute Alessandro e Jacopo tornano a parlare di Ridley Scott (ne avevamo già parlato qui: https://open.spotify.com/episode/7zAE…) per analizzare 3 film che hanno diviso e continuano a dividere le opinioni di critica e pubblico.

    Nello specifico:
    – Black Hawk Down (2001)
    – The Counselor (2013)
    – House of Gucci (2021)

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

  • Pain Hustlers – Trailer del nuovo film targato Netflix con Emily Blunt e Chris Evans

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    A settimane di distanza dall’uscita in streaming, Netflix pubblica il trailer di Pain Hustlers, il prossimo progetto di punta che vedrà protagonisti Emily Blunt (Oppenheimer) e Chris Evans (Captain America).

    Il trailer ci mostra dettagli sulla trama e i vari personaggi, tra cui spicca la protagonista interpretata proprio dalla Blunt.

    Sinossi ufficiale:

    Sognando una vita migliore per lei e la sua giovane figlia, Liza (Emily Blunt) ottiene un lavoro da Pete (Chris Evans) in una start-up farmaceutica in fallimento, dove il fascino, la determinazione e il coraggio di Liza la catapultano nella bella vita e nel mondo degli affari mentre l’azienda finisce al centro di un’associazione a delinquere con conseguenze disastrose.

    Il cast, oltre a Blunt e Evans, è formato da Catherine O’Hara (Elemental), Andy Garcia (Gli Intoccabili), Brian D’Arcy James (West Side Story), Chloe Coleman (Avatar – La via dell’acqua) e Jay Duplass (The Chair).

    La sceneggiatura è scritta da Wells Tower, uno scrittore americano che firma la sua prima sceneggiatura dopo aver fatto qualche lavoro per la televisione.

    Il regista della pellicola, invece, è David Yates, nonché il regista degli ultimi quattro film della saga di Harry Potter e della trilogia di Animali Fantastici.

    Il film, prodotto da Netflix, uscirà direttamente in streaming a partire dal 27 ottobre 2023.

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    Michael Pierdomenico,
    Redattore news.

  • Frankenstein di Guillermo Del Toro – Novità sul cast e l’inizio delle riprese

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    Sono passati ormai mesi dal giorno in cui è stato annunciato Frankenstein, il prossimo progetto di Guillermo Del Toro in collaborazione con Netflix, che sarà un film basato sull’omonimo romanzo di Mary Shelley (puoi leggere di più cliccando qui).

    Infatti durante un evento, organizzato da Collider, per la celebrazione del decimo anniversario di Pacific Rim, Del Toro si è trovato a rispondere ad alcune domande e ne ha approfittato per aggiornarci sul progetto sopra citato.

    Secondo quanto riportato le riprese dovrebbero iniziare il prossimo febbraio, infatti il regista ha affermato: 

    “Sto lavorando a Frankenstein. Ci stiamo lavorando, le riprese partiranno a febbraio ed è un film che voglio fare da 50 anni, da quando ho visto il primo Frankenstein. Ho avuto un’illuminazione ed è essenzialmente un film che richiede molta crescita e molti strumenti che non avrei potuto avere a disposizione 10 anni fa. Ora sono abbastanza coraggioso, pazzo o qualcosa del genere, e ci stiamo cimentando in questa avventura.”

    Inoltre ha poi aggiunto:

    “Nel cast ci saranno Oscar Isaac, Andrew Garfield, Christoph Waltz, Mia Goth e ci stiamo lavorando.”

    Questo vuol dire che oltre ai già noti Oscar Isaac (Dune: Part 1), Andrew Garfield (The Amazing Spider-Man) e Mia Goth (Pearl) si aggiunge il formidabile Christoph Waltz (Django Unchained) che torna a collaborare con Del Toro dopo aver doppiato il Conte Volpe per il film d’animazione Pinocchio (leggi la nostra recensione qui).

    Questo film segnerà la terza collaborazione tra il regista e Netflix dopo il successo del film Pinocchio e della serie tv Cabinet Of Curiosities (leggi la nostra recensione qui).

    Detto ciò, non ci resta che aspettare nuove notizie e se volete rimanere sempre aggiornati, continuate a seguirci iscrivendovi gratuitamente alla nostra Newsletter oppure seguendoci sui vari social.

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    Michael Pierdomenico,
    Redattore news.

  • Recensione La moglie di Tchaikovsky – Le derive dell’ossessione

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    Che siano le note orchestrali di Leonard Bernstein vissute dalla socialite Felicia Montealegre in Maestro di Bradley Cooper, oppure l’eco di quelle rock ‘n’ roll di The Pelvis riflessa su Priscilla Beaulieu in Priscilla di Sofia Coppola, il gioco poco cambia: narrare i chiaroscuri di grandi icone maschili dal punto di vista del femminile, capire come la società uomo-centrica che ancora stenta a scomparire si sia riflessa prima sulle stesse icone e per osmosi sulle loro compagne. Omo-centrismo che ne La moglie di Tchaikovsky è sbeffeggiato già dal titolo, dove si oggettifica e si spersonalizza la moglie del compositore nonostante il film narri le vicende proprio dal punto di vista di quest’ultima; lo scorso maggio, infatti, il 75º Festival di Cannes ha visto il ritorno sulla croisette del regista dissidente russo Kirill Serebrennikov, tornato in concorso per la Palma d’oro appena un anno dopo Petrov’s Flu e soprattutto dopo la libertà dagli arresti domiciliari, durati ben cinque anni e scontati per una (a dir poco) controversa accusa di appropriazione indebita di fondi pubblici.

    Kirill Serebrennikov sulla croisette di Cannes

    La moglie di Tchaikovsky è una coproduzione Russia-Francia-Svizzera ed è ambientato nella Russia imperiale di fine XIX secolo, dove l’aspirante musicista Antonina Miliukova (Alyona Mikhailova) riesce a sposare il celebre compositore Pyotr Tchaikovsky (Odin Lund Biron), di cui è perdutamente innamorata. Il’ič non ha mai amato una donna e continua a celare la sua inclinazione sessuale anche dietro al matrimonio borghese, che proietta Antonina in una spirale d’ossessione nei confronti del marito. Il film si conclude con la fine del matrimonio, durato dal 1877 al 1893, quando Tchaikovsky morì senza che la moglie avesse mai accettato la sua omosessualità.

    Parola di Dio

    Idolo, divinità e ideale: Il’ič è l’Assoluto a cui tendere per Antonina, prima il totem da venerare e poi il cimelio da celebrare. Non vuole separarsene, l’estro del marito è la sua linfa vitale, lui è il Dio da pregare quotidianamente; non siamo distanti dal Veniamin predicatore di Parola di Dio, altro film di Serebrennikov che affrontava l’idolatria e le sue derive paranoiche e ossessive. Non ci sono muse ispiratrici per il regista, o almeno non pensa che la musa possa avere forma umana: Antonina fonda una nuova religione, dà vita a un nuovo culto che vede il marito sull’altare, assistiamo a rituali pagani, citazioni della Bibbia, visioni del Sacro che degenereranno in deliri allucinatori. La moglie lo sogna, lo ricorda, prima lo brama e poi lo respinge, lo cerca, lo (ri)trova e non volendolo più perdere, ironia della sorte, perde invece il senno. Il film è tutto un po’ caotico e frastornante proprio come la moglie del titolo, ma non è un pregio: il focus è solo ed esclusivamente su Antonina e non capiamo mai bene le cause dell’ossessione per l’illustre compositore, di fronte al quale la degenerazione psicologica definitiva avverrà quando intuirà la sua segreta omosessualità, che non accetterà né ora né mai. Ricordate L’altra faccia dell’amore (in originale The music lovers) di Ken Russel? Come cambia il cinema col mutamento di sensibilità: stessa storia ma dal punto di vista inverso, esattamente come si specchiano Elvis (Luhrmann) e Priscilla (Coppola), altro film dove veniva significativamente evitato l’utilizzo di canzoni dell’artista, come avviene ora con le composizioni di Tchaikovsky. Qui però c’è un ribaltamento di caratteri, dal paradossale stoicismo di Priscilla che non lasciava mai trasparire un briciolo di eros, passiamo alla morbosa e poco comprensibile (per gli spettatori) esplosione d’erotismo di Antonina che vuole possedere il marito carnalmente, artisticamente e psicologicamente.

    Antonina Milyukova (Alena Mikhaylova) e Pyotr Tchaikovsky (Odin Lund Biron)

    Il film vorrebbe quindi essere una denuncia al governo russo su duplice versante: l’ingiusta condanna all’omosessualità ribadita anche dal recente rafforzamento dell’oscena “legge russa sulla propaganda gay” e quella concernente la condizione delle donne nel Paese, ancora oggi soggette a una condizione pressoché uguale a quella di fine ‘800. Se da un lato la Russia cerca da sempre di occultare il lato omosessuale di una delle sue più grandi figure storiche, motivo di forte (e ridicolo) imbarazzo per tutta la nazione, l’altra faccia della medaglia dovrebbe essere proprio l’alienazione sempre più forte a cui sono condotte le donne a causa della pratica di creazione di figure mitologiche maschili, il cui fascino ha dominato e domina tuttora le giornate (costrittivamente) vuote e monotone della maggior parte delle donne, tenute prigioniere prima socialmente e poi psicologicamente dalle personalità artistiche e politiche magnificate dalla società, dalla Storia, e di cui bisognava e bisogna diventare devote. Donne che erano e sono ancora soltanto un nome nel passaporto di un uomo, vittime di un’ipocrisia sociale con pochi eguali che le danneggiava tanto quanto le loro divinità, come il Tchaikovsky denudato della sua aura divina e ridotto al sé stesso che Antonina vedrà solo alla fine, sprofondando vorticosamente nella perdita della ragione e conducendo il marito alla controversa morte (si discute ancora di un probabile suicidio).

    Stessi meccanismi, stesse problematiche

    Queste intuizioni, tuttavia, sono dedotte assemblando diversi spunti tematici che il film affronta solo in parte e in superficie, scegliendo la via della ridondanza, una strada che dovrebbe rispecchiare la patologia opprimente di Antonina ma che a giochi fatti stenta a discernere a fondo tutte le contraddizioni sociali della Russia e, anzi, creando un pericoloso cortocircuito: concentrandosi esclusivamente sul legame in cui la moglie è sempre un buco nero che inghiotte qualsiasi cosa le graviti attorno, dalla macchina da presa ai dialoghi, dalle relazioni fra personaggi al (tentativo di) approfondimento psicologico, non capiamo mai fino in fondo l’origine del morbo, il perché di determinate azioni, in un meccanismo ripetitivo e ampolloso che ribadisce l’unico concetto fino allo sfinimento. Per assurdo troviamo gli stessi difetti di Priscilla sebbene le due protagoniste siano diametralmente opposte: forse limitarsi al mero rapporto di coppia comprime entrambi i film, avvertendo l’assenza di un contesto sociale che permetta allo spettatore di comprendere perché avvengono certe cose e soprattutto dove, in quali circostanze storiche;

    Antonina spia il marito di nascosto

    La moglie di Tchaikovsky prova qualche suggerimento occasionale, mostrando il fango di cui sono ricoperte le strade lerce di una Russia sulfurea e mortifera, dove si intravedono squarci di degrado sociale con i ceti più bassi lasciati a morire sui marciapiedi come animali. Tutto ciò non basta in un film di quasi due ore e mezza che opta invece per la reiterazione, dove la centralità di Antonina annulla il fascino sinistro della complicatezza e rischia, paradossalmente, di far apparire lei stessa come personaggio negativo. La ridondanza tagliava le gambe anche a Parola di Dio, sempre con Serebrennikov in cabina di regia e in sceneggiatura: se il suo indubbio e sontuoso gusto estetico fosse accompagnato da una scrittura meno pedante e pletorica, ci troveremmo davanti a un enorme talento. Staremo a vedere se in futuro riuscirà a coniugare questi due aspetti: a 54 anni potrebbe ancora riservarci grandi sorprese.

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    Alberto Faggiotto,
    Caporedattore.

  • Recensione Sick Of Myself – Racconto del nostro narcisismo

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    Se la protagonista ritratta da Joachim Trier pensava di essere la persona peggiore del mondo, quella del collega norvegese Kristoffer Borgli in Sick of Myself la è davvero, senza però averne consapevolezza. 

    Il personaggio interpretato da Kristine Kujath Thorp (già vista nel 2022 nella commedia Ninjababy), oltre ad essere una bugiarda seriale, soffre di quella che si potrebbe chiamare main character syndrome, svia ogni conversazione non la riguardi direttamente come fossero solo rumori disturbanti in sottofondo e pretende di essere il centro del mondo non solo di chi le sta accanto ma di tutti indistintamente. Signe è la persona che nessuno vorrebbe essere, l’amica o la fidanzata che nessuno vorrebbe accanto.

    Prima di tutto, però, Signe è la fidanzata di Thomas, o almeno così si sente lei, aspirante musa di un sedicente artista che si sta preparando a sfondare finalmente nei circoletti di arte contemporanea di Oslo, rubando pezzi di design nei negozi di arredamento. Thomas, oltre ad essere un artista discutibile, è anche un fidanzato terribile: lei rappresenta per lui quasi una presenza di intralcio, non le presta la minima attenzione e sminuisce il suo contributo alla sua “arte”, senza neanche preoccuparsi di presentarla come la sua fidanzata. Nonostante tutto Signe ricerca e dipende totalmente dalla sua approvazione, mentre lui semplicemente la tollera, non volendola neanche lasciare. 

    Più la sua popolarità aumenta più Signe non riesce a sopportare questo squilibrio, decidendo consapevolmente di assumere il Lidexol – un farmaco immaginario, con tanto di sito in cui si  difende dalla diffamazione subita nel film– contro l’ansia e prodotto in Russia dagli effetti collaterali devastanti. Totalmente incurante delle conseguenze, gioca con la sua salute come se perderla del tutto fosse una moneta di scambio. La malattia diventa un gioco ma le sue fantasie rimangono serissime.

    Questo squilibrio è sottolineato dalla sceneggiatura: infatti – non appena le eruzioni cutanee diventano visibili – Signe lo interroga insistentemente sulla gravità della situazione per portarlo ad ammettere anche la più leggera preoccupazione che potrebbe essere sintomo di cura, attenzione, forse amore. Ma la guerra per l’attenzione nella società dell’informazione è ad armi impari, perché non importa quanto in apparenza possa sembrare rilevante la tua storia, arriverà sempre qualcosa di più interessante. Nel caso di Signe a rubare subito il primo posto in homepage alla sua intervista rilasciata al tabloid norvegese è “un fottuto nerd che ha sparato a tutta la sua famiglia”, mosso forse anche quest’ultimo dallo stesso desiderio di attenzione. 

    Sick of myself è un film divertente, in un’accezione quasi nevrotica anche nelle sue derive body horror, fino a che non ti rendi conto che parla anche di te. A quel punto diventa insidioso, perché agisce come uno specchio che fa emergere – è il caso di dire a fior di pelle – il nostro narcisismo latente, quella sfrenata voglia di attenzione esasperata dall’idea che spesso abbiamo di meritare, più degli altri, uno spazio nel cono di luce. 

    Questo pensiero giustifica una lunghissima catena di bugie che non ottengono comunque quasi mai il risultato sperato e lei rifugge sempre di più nelle sue fantasie. Il suo punto di vista rimane centrale per tutta la narrazione tanto da esplorare e dare forma ai suoi desideri, la vediamo sulla copertina di i-D, in prima serata in televisione, incinta inseguita dai paparazzi tra le braccia di Thomas, autrice di una biografia best seller, fino alle sue paure più profonde, con il cameo di Anders Danielsen Lie che in veste di medico le restituisce la diagnosi di una terribile e insopportabile personalità. Solo nello spazio onirico Thomas la ama davvero e le persone accanto a lei le danno finalmente l’importanza che si merita, compreso il padre che rifà vivo pregando per il perdono. Da questo possiamo assumere come tutto quello che desidera le sia sempre mancato. Sogno e realtà sembrano incontrarsi solo una volta, in un climax dove, durante il sesso, insieme a Thomas si immagina il suo funerale, con code lunghissime di persone disperate che si accalcano per entrare. 

    Non sono certo giustificabili gli estremi, a volte ridicoli, raggiunti ma Borgli lascia sempre intravedere l’umanità di un personaggio che non cerca attenzione solo per il gusto di farlo ma che vive un grosso equivoco, sovrapponendo il significato di amore con quello di attenzione. Se nella sua relazione l’amore manca l’unica soluzione che rimane è quella di guadagnarsi attenzione nei modi più creativi possibili, inutile dire che comunque è mai abbastanza. 

    Presentato nella sezione Un Certain Regard della scorsa edizione del Festival di Cannes, non è un film perfetto, ma sintetizza e fa sue le ultime tendenze del cinema scandinavo ed è abbastanza per seguire con curiosità il percorso di questo giovane regista, che ha già annunciato e presentato in anteprima al Toronto International Film Festival il suo prossimo film, Dream Scenario, prodotto da Ari Aster e distribuito da A24 (chi non altro del resto?). 

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    Silvia Alberti,
    Redattrice.

  • Recensione L’esorcista: Il credente – Un’occasione sprecata

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    In un’industria cinematografica ormai fagocitata da mere operazioni commerciali, volte allo scopo di sfruttare il più possibile i film che si rivelano vincenti, era solo questione di tempo prima che qualche casa di produzione cercasse di riportare nuovamente al cinema L’esorcista con una nuova pellicola. Operazione di certo non nuova, visti i quattro film usciti tra il 1977 ed il 2005 – tra i quali si contano un secondo capitolo da molti ritenuto uno dei seguiti horror meno riusciti del genere, un terzo capitolo riuscito ma inserito a forza nel canone dalla produzione, e l’accoppiata La genesi/Dominion che si pongono come due versioni entrambe problematiche di un prequel dell’originale – e le due stagioni di The Exorcist, serie tv andata in onda tra il 2017 ed il 2018 capace di conquistarsi una piccola nicchia di fan, ma cancellata in seguito all’acquisizione di Fox da parte di Disney e degli ascolti ritenuti non all’altezza.

    Pensata inizialmente come un remake dell’originale del ’73, l’operazione di revival si è invece trasformata in un seguito vero e proprio dell’originale seguendo quanto fatto dalla recente trilogia di Halloween diretta da David Gordon Green, sicuramente non a caso scelto come regista anche di questa nuova pellicola, che pur senza cancellare i vari seguiti – quindi diversamente da quanto fatto con Halloween che invece prendeva come canonico soltanto il primo capitolo della saga e cancellava tutto il resto – si presenta qui come un fresh start, un nuovo inizio, dove però qualcosa non è andato per il verso giusto.

    Rimanere fedeli con qualcosa di diverso

    Dopo un apprezzabile inizio ambientato ad Haiti a fare il verso alla sequenza irachena dell’originale (di cui trovate qui un nostro approfondimento), un salto temporale ci porta nel presente per seguire Victor (Leslie Odom Jr.) ed Angela Fielding (Lidya Jewett) nella loro vita di tutti i giorni, fino a quando la normalità non viene spezzata dalla decisione di Angela di praticare assieme all’amica Katherine (Olivia Marcum) un rito per parlare con la defunta madre, a cui segue la scomparsa delle due per ben tre giorni, dopo i quali ricompaiono portando qualcosa con loro.

    Sul fronte narrativo, Il credente cerca di costruire una successione di eventi molto fedele ai ritmi dell’originale: ci vengono presentati i protagonisti, viene eseguito un rito, le bambine cominciano a manifestare strani sintomi che portano i genitori a sottoporle a numerosi esami medici, ed il successivo vertere su sequenze sempre più inquietanti e sovrannaturali fino all’esplosione finale con l’esorcismo. Per tutta la prima parte del film ciò viene eseguito in maniera tutto sommato ottima, creando la giusta atmosfera grazie ad un dosaggio intelligente di momenti più calmi ed altri più inquietanti, destreggiandosi tra le due famiglie senza mai dare la sensazione che una delle due bambine abbia un’importanza maggiore. A sbilanciare il tutto alcuni jumpscare presenti in un numero forse eccessivo, ma che si dimostrano tutto sommato nemmeno troppo fastidiosi, complice un’ottima costruzione dell’atmosfera che usufruisce di un bilanciato utilizzo della colonna sonora..

    Chi troppo vuole…

    È proprio però nel momento in cui Victor, protagonista effettivo della pellicola, capisce di trovarsi davanti a qualcosa che trascende la normalità che la narrazione si perde però in un bicchier d’acqua. Innanzitutto la presenza di Elle Burstyn, grande ritorno nei panni di Chris MacNeil, si dimostra allo stesso tempo forzata e poco utile ai fini della trama, generando un paio di sequenze sicuramente d’impatto per i fan dell’originale, ma che si dimostrano tutto sommato come un mediocre riempitivo; successivamente si presenta la difficoltà di mettere in scena un esorcismo capace di tenere testa all’originale senza risultare una semplice compiatore. La scelta di non inserire un vero sacerdote nel rito a causa della scelta della Chiesa di non ritrovarsi coinvolta nella faccenda – elemento che avrebbe forse meritato un maggiore approfondimento anche in relazione a quanto messo in scena già nel primo capitolo – si presenta come una scelta sì azzardata, ma al tempo stesso idealmente vincente nel portare alla creazione di un piccolo gruppo di personaggi di inclinazioni religiose differenti – un pastore protestante, alcuni cattolici, una sacerdotessa che innesta alle credenze cristiane alcuni elementi della cultura africana – riuniti per affrontare un male comune. Il poco approfondimento sui singoli personaggi e la conseguente poca differenziazione tra di essi si manifesta in un insieme di preghiere recitate a bassa voce, crocefissi sventolati in faccia alle bambine possedute e candele aromatiche e rametti bruciati, che finiscono per creare una sequenza confusa e poco ispirata che scade in velocità nella banalità dell’eccesso e verso un finale fortemente anti climatico.

    Sul lato tecnico si spendono in realtà poche parole: la messa in scena di David Gordon Green si attesta su un buon livello, senza guizzi particolari, ma capace per buona parte del film di costruire ottimamente la tensione grazie all’ottimo lavoro svolto dal direttore della fotografia Michael Simmons; il trucco utilizzato per le protagoniste, per i vari stadi della possessione e per i demoni, è di ottima fattura, così come la recitazione sia dei protagonisti che dei personaggi più secondari è tutto sommato buona anche se priva di interpretazioni degne di nota. Infine le – per fortuna pochissime – sequenze che sfruttano l’utilizzo di computer grafica mostrano il fianco a più di un difetto estraniando lo spettatore dalla visione.

    Conclusioni

    Conclusa la sua trilogia di Halloween, David Gordon Green torna al cinema con un nuovo L’esorcista  – nelle intenzioni come apertura anche questa volta di un’altra trilogia – che, nonostante la buona partenza, finisce per ruzzolare rovinosamente in un mix tra fan service e desiderio di presentare qualcosa di nuovo senza spingere troppo sull’acceleratore, arrivando così ad un finale affrettato e tutt’altro che soddisfacente. Non basta quindi una buona messa in scena a salvare un film che poteva e doveva fare di più, conscio dell’eredità che doveva caricarsi sulle spalle, ma sotto il cui peso è inevitabilmente finito per soccombere.

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    Mattia Bianconi,
    Redattore.