FRAMES CINEMA

Category: Archivio

Tutti gli articoli usciti su Framescinema in questi anni

  • Il Neo-Noir e l’ibridazione del genere

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    Arrivati alla fine di questa settimana tematica dedicata al noir (qui per scoprire tutti gli approfondimenti dei giorni scorsi, nel malaugurato caso in cui ve li siate persi) risulterebbe ripetitivo e lapalissiano andare nuovamente a sviscerare i cardini stilistici-narrativi-tematici di quello che probabilmente è, insieme al western, il genere più codificato e riconoscibile di tutto il panorama cinematografico della Hollywood classica. Se da un lato il fascino di Humphrey Bogart – in impermeabile, cappello e sigaretta in bocca – resta assoluto e immortale, dall’altro è sicuramente interessante andare a capire come il genere si sia evoluto nel corso dei decenni, frammentandosi, ibridandosi e destrutturandosi, per continuare a proporre un discorso pienamente coerente ai pilastri tematici noir, utilizzando però linguaggi cinematografici più contemporanei. 

    Per comprendere le molteplici interpretazioni che l’utilizzo del termine noir ha assunto a partire dalla fine degli anni ’60 è necessario iniziare da quella che viene spesso considerata come la pellicola-madre del neo-noir, ovvero Chinatown di Roman Polanski (1974), opera che rivitalizza un intero genere, calandolo nuovamente nella contemporaneità e traducendolo nella realtà degli anni Settanta. Pur mantenendo un impianto formale-narrativo classico – con i personaggi codificati del detective e della femme fatale che devono muoversi in una realtà misteriosa, fatta di intrighi e corruzione – Polanski aggiunge un tassello fondamentale che eleva Chinatown da “semplice opera noir meravigliosamente costruita” a “momento spartiacque della storia del cinema”, ovvero il complotto politico che mette in moto tutta la vicenda. Proprio come in altri grandi noir classici – su tutti La Fuga di Delmer Daves (1947) in cui il senso di paranoia era diretta rappresentazione della situazione politica e sociale dell’America post Seconda Guerra Mondiale – l’opera di Polanski riflettendo la totale perdita di fiducia nei confronti delle istituzioni, in un paese sconvolto nelle sue fondamenta politiche dallo scandalo Watergate, riscopre la potenza artistica di un genere che sembrava indissolubilmente legato al contesto storico della sua epoca d’oro e che invece viene catapultato di forza nel tumulto rivoluzionario della Nuova Hollywood. E’ proprio questo, dunque, il periodo in cui i grandi autori degli anni ’70 comprendono come il noir sia ancora un veicolo efficace per trattare tematiche più vicine a una generazione di artisti con nuove necessità espressive rispetto alla stagione classica: sempre nel 1974, ad esempio, esce Yakuza di Sydney Pollack, un altro capolavoro del genere che, trasferendo una narrazione abbastanza canonica nel contesto giapponese, trasforma il grande topos della realtà indecifrabile e dedalica del noir anni ’40 in una riflessione molto più ampia sulle conseguenze politiche e culturali della seconda guerra mondiale sui rapporti Stati Uniti – Giappone, analizzate qui con uno sguardo più consapevole e critico nei confronti dell’America rispetto al passato, in un’operazione molto simile a quanto già fatto dallo stesso Pollack con il western Corvo Rosso non avrai il mio scalpo (1972) nell’analizzare il rapporto americani-pellerossa. 

    Oltre, quindi, alla rinnovata capacità di rappresentare attraverso il genere puro uno spettro tematico più aderente alla realtà contemporanea, è ugualmente importante capire la frammentazione e l’evoluzione degli stilemi noir e il loro mescolarsi con elementi caratteristici di altri correnti cinematografiche. In altre parole, si assiste alla parcellizzazione del linguaggio noir, che diventa in questo modo di grande influenza anche per altri generi, i quali – prendendo in prestito elementi alle volte tematici, alle volte estetici, o ancora narrativi – li calano in contesti estranei al racconto classico, creando un ibrido nuovo. Prendendo in analisi, per esempio, la grande narrazione del detective privato che si muove in una metropoli alienante e alienata, riflesso del degrado morale della società e della perdita della propria identità, è impossibile non citare film come Blade Runner o Seven, che mantenendo una spina dorsale fortemente noir, traslano questi stilemi narrativi in generi alle volte confinanti, come il thriller a tinte quasi orrorifiche di Fincher, o al contrario lontanissimi, come la fantascienza scottiana. Si pensi anche all’evidente mescolamento tra noir e cinema d’azione, avvenuto soprattutto a cavallo tra gli anni ’80 e ’90, grazie all’opera di maestri del calibro di Michael Mann, Ridley Scott e William Friedkin (di cui abbiamo parlato in questa puntata del nostro podcast) che hanno, di fatto, riscritto le regole del noir moderno: la fotografia classica, ricca di profondi chiaroscuri e ombre espressioniste, lascia il posto all’iper-cromatica illuminazione al neon della metropoli moderna, non più misteriosa nella sua oscurità, quanto più straniante nel suo costante mutamento; il protagonista-simbolo smette di essere l’affascinante detective privato bogartiano per trasformarsi molto spesso in un – altrettanto affascinante a dire il vero – poliziotto ai limiti della legge, un cane sciolto che si muove secondo il proprio codice di valori, un uomo dal passato oscuro e violento, certamente meno elegante rispetto ai grandi personaggi classici, ma ugualmente simbolico dal punto di vista morale. 

    Allo stesso modo, anche la rappresentazione della dark lady subisce una profonda rivoluzione in questa nuova corrente cinematografica: se, ad esempio, l’iconica femme fatale – leggasi Barbara Stanwyck ne La Fiamma del Peccato (1944) o la Jane Greer de Le Catene della Colpa (1947) – cercava di mascherare la propria natura ambigua dietro un’apparenza ingenua e innocente, quella del noir moderno, invece, si fa portatrice di una preponderante carica erotica, vera e propria arma principale nella seduzione e nella manipolazione della sua controparte maschile. Esempio massimo di questo tipo di personaggio è, senza dubbio, la Sharon Stone di Basic Instinct (1992), passata alla storia come una delle dark lady più iconiche e sensuali del cinema moderno, ma anche – in tempi più recenti – la Rosamund Pike di Gone Girl (2014) o la Cameron Diaz di The Counselor (2013). 

    Se è vero, quindi, che esiste un’intera corrente neo-noir che, facendo di questa riscrittura del canone estetico-narrativo il proprio punto focale, rivendica un’appartenenza di genere molto marcata, non bisogna sottovalutare le contaminazioni più sottili, in cui l’influenza noir può limitarsi alle tematiche fondamentali alla base dell’opera, che può successivamente dipanarsi invece su altri binari. E’ il caso, ad esempio, di film come Carlito’s Way (1993) che si presenta in tutto e per tutto come un gangster-movie tradizionale, ma in cui il discorso nevralgico ruota intorno al concetto – tipicamente noir – dell’impossibilità di slegarsi e di liberarsi dal proprio passato. Allo stesso modo, il topos dell’avidità e della spirale mortifera causata da una grossa somma di denaro è al centro di grandi film come Non è un Paese per Vecchi (2007) e Soldi Sporchi (1998 Sam Raimi), entrambi quanto mai lontani dalla narrazione canonica e codificata del genere. Perfino in pellicole più sperimentali, di cui risulta difficile la categorizzazione, come Memento (2000) una lettura fondamentalmente noir fornisce chiavi più che coerenti per l’interpretazione tematica dell’opera: cosa è il film, infatti, se non la rappresentazione di una realtà labirintica, indecifrabile, forse onirica e segmentata in cui il protagonista fatica a muoversi nel tentativo di risolvere un mistero? E cos’è questa rappresentazione se non la definizione stessa di Noir?

    Nel cinema moderno e contemporaneo, in conclusione, i Robert Mitchum e gli Humphrey Bogart in trench e cappello si sono estinti, lasciando spazio ai Michael Douglas e ai William Petersen con distintivo e fondina annessa, ma questo non significa – per fortuna – che l’eredità del grande cinema noir degli anni ’40 e ’50 sia andata perduta, svanita sotto la luce di lampade al neon e inseguimenti al cardiopalma, al contrario ha assunto una nuova connotazione multiforme, sfaccettata, spezzettata e fumosa, proprio come ogni vera storia noir che si rispetti dovrebbe essere.

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    Alessandro Catana,
    Vicepresidente Associazione e caporedattore.

  • I Cahiers du Cinéma e la rivoluzione della critica

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    Oggi la critica cinematografica nell’ampiezza dei suoi contributi è giunta in molte occasioni ad essere elaborata sulla base di metodologie efficaci, su precise argomentazioni e su complessi sistemi estetici. Non sempre però i critici hanno avuto un tale approccio programmatico alla valutazione dei film. Nei primi anni dello sviluppo della critica cinematografica infatti essa era molto più vaga e meno definita, e oscillava tra minuziosi resoconti delle pellicole scritti per gli addetti al settore e la cosiddetta “critica impressionista”, cioè una critica non basata su un sistema estetico ma che prendeva in prestito in modo molto vago le metodologie di altre discipline per esaminare i film. 

    La data dell’1 aprile 1951 costituì però una svolta nel mondo della critica cinematografica, poiché fu il momento della nascita, a Parigi, di una rivista che avrebbe impostato un nuovo modo di parlare di cinema e permesso la rivalutazione di diverse categorie estetiche: i Cahiers du Cinéma. 

    I Cahiers erano stati fondati dagli ex membri di un altro importante periodico, la Revue du Cinéma, un giornale che aveva sempre avuto come obiettivo il conferire una maggiore serietà alla critica cinematografica, elevandola dal mero “impressionismo”, e aveva contato su collaborazioni importanti come Cocteau e Sartre. I più importanti membri della Revue che avrebbero poi fondato i Cahiers furono André Bazin e Jacques Doniol-Valcroze, desiderosi di realizzare la volontà di Georges Auriol (il fondatore della Revue), di portare avanti il progetto. Egli era morto pochi mesi prima, e la nuova rivista aveva lo scopo spirituale di onorare la sua figura.

    Gli obiettivi che i Cahiers si proponevano di realizzare erano strettamente legati a quelli che erano stati gli ideali della Revue. Se quest’ultima si era occupata di legittimare l’esistenza del cinema come vera e propria arte, basata su criteri estetici propri, era ora il momento di elevare definitivamente lo status della critica cinematografica. Il contesto culturale era inoltre favorevole alla svolta che Bazin e Doniol-Valcroze stavano cercando di imporre, poiché si stava diffondendo in quegli anni la cultura dei cineclub. Gli appassionati si riunivano in visioni collettive che venivano seguite da un dibattito. Fu in questo clima culturale che si formarono i nuovi membri della redazione, giovani cinefili reattivi e polemici, la cui volontà di affermare la propria visione del cinema fu alla base di una vera rivoluzione critica che venne messa in atto. Si trovano qui alcuni nomi tra i più importanti della storia del cinema e della critica, come Jean-Luc Godard, Eric Rohmer, Jacques Rivette e François Roland Truffaut. 

    La politique des auteurs

    La giovane guardia era intransigente, polemica, volenterosa di imporsi e insofferente verso le critiche al suo approccio. I registi amati dai giovani redattori contavano ben pochi francesi (sicuramente Jean Renoir e Jacques Becker avevano un posto d’onore) in confronto ai registi d’oltreoceano, che erano stati fino a quel momento ritenuti commerciali e se oggi essi vengono stimati dal pubblico e studiati per la loro importanza nella storia del cinema, il merito è interamente dei Cahiers du Cinéma. I giovani redattori amavano Hitchcock, Hawks e Welles, e non temevano di andare contro l’opinione comune della Francia degli anni ’50.

    Essi erano convinti che fosse necessario considerare l’opera di questi registi da un punto di vista diverso da quello che era stato adottato fino a quel momento, e il loro pensiero si risolse in uno scritto di Truffaut che assunse il ruolo di manifesto programmatico dell’elaborazione critica dei giovani Cahiers. L’articolo, pubblicato nel febbraio del 1955, si intitolava Alì Babà e la politica degli autori, ed enunciava un pensiero ed una posizione che sarebbe poi stata applicata a tutti i registi amati dai giovani redattori. Nell’articolo Truffaut parlava di un film “minore” di Jacques Becker, regista in genere da lui amato. Il critico però non aveva apprezzato il suo Alì Babà, ma aveva comunque continuato a riguardarlo fino a riuscire a cogliere i tratti tipici della poetica del cineasta, che elevavano quel film al pari di tutti gli altri e permettevano di inserirlo all’interno della sua opera, la quale andava considerata nella sua interezza. Con un atteggiamento polemico Truffaut scriveva di voler fermare la tendenza per cui i film venivano “valutati come le maionesi: o riescono o non riescono.”

    L’articolo su Alì Babà dà quindi inizio alla politique des auteurs, un fenomeno rivoluzionario caratterizzato dalla verve reattiva dei giovani critici. La peculiarità del movimento non stava nella generica considerazione dei registi come degli autori, ma nell’applicazione di questa categoria a registi fino a poco prima considerati commerciali e banali, e nell’atteggiamento polemico adottato. La politique si basava sulla convinzione che ogni autore avesse una propria visione del mondo, una poetica, e fosse in grado di esprimerla tramite il mezzo cinematografico proprio come gli scrittori con i romanzi. Nell’articolo venivano indirettamente esposti alcuni punti fondamentali che era necessario seguire per l’applicazione del concetto. Il primo era il volontarismo dell’amore, che consisteva nell’impegnarsi a guardare più e più volte i film, per poterne cogliere i segni del linguaggio dell’autore al suo interno. Vi era poi la necessità di seguire l’opera nel suo farsi, e considerare i film realizzati da un regista come diverse tappe di un suo percorso di crescita artistica. Infine, era essenziale il concetto di messa in scena. Diversi tra i redattori dei Cahiers avevano dato la propria definizione, in particolare Jacques Rivette l’aveva definita come un linguaggio che poteva essere compreso da tutti i cinéphiles che avessero interiorizzato la semiotica del mezzo e il modo in cui la messa in scena, intesa come organizzazione degli spazi e dei corpi, potesse veicolare un determinato senso.  

    La politique des auteurs creò scandalo per la violenza della polemica e la fermezza dei suoi sostenitori sulle loro posizioni. Non era certo priva di rischi però. Il pericolo era infatti quello di scadere in un mero culto della personalità che non avrebbe più permesso di rendersi conto di eventuali difetti presenti nei film, causati magari da problemi più pratici e non legati all’idea di una poetica autoriale. Per questa ragione, e anche grazie alle opinioni più mitigate dei redattori più anziani, il fenomeno col tempo si spense. Il suo contributo alla storia del cinema fu però fondamentale, e la rivoluzione apportata impostò una nuova concezione di critica i cui frutti sono evidenti ancora oggi. 

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    Gaia Fanelli,
    Redattrice.

  • Clint Eastwood sta per girare l’ultimo film della sua carriera?

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    Secondo Discussing Film, Clint Eastwood starebbe per girare l’ultimo film della sua carriera prima di ritirarsi dalle scene. Il sito riporta che quest’ultima pellicola sarà prodotta da Warner Bros., la major con cui il cineasta ha collaborato ininterrottamente da Gran Torino (2008) in poi.

    La prosecuzione della collaborazione, precisa Discussing Film, non era affatto scontata: l’ultimo film diretto (e anche interpretato) da Clint Eastwood è stato Cry Macho – Ritorno a casa, girato e uscito nel 2021 in piena pandemia. Negli Stati Uniti è stata una delle ultime pellicole Warner a essere distribuita in modalità day-and-date cinema e streaming su HBO Max, e non è stata un grande successo né di critica né al box office. 

    Dopo la fusione fra Warner Bros. e Discovery, il nuovo CEO David Zaslav aveva commentato a Wall Street Journal la performance al botteghino di Cry Macho affermando che la major “non doveva favori a nessuno”, mettendo in discussione eventuali nuove collaborazioni con il filmmaker. A quanto pare, l’opinione ora è cambiata, e adesso Warner Bros. sarebbe entusiasta di sostenere l’ultima pellicola nella lunghissima e acclamata carriera di Clint Eastwood.

    Questo nuovo lungometraggio dovrebbe essere un legal thriller attualmente intitolato Juror #2. Dovrebbe raccontare la storia di un giurato in un processo per omicidio che realizza di aver causato la morte della vittima e deve fare i conti col dilemma morale del cosa fare: manipolare la giuria per salvarsi o rivelare la verità e consegnarsi? 

    Secondo un rumor diffuso da Giant Freakin Robot, la giovane star del film sarebbe Nicholas Hoult (The Menu, Renfield) e ad affiancarlo ci sarebbe anche Toni Colette (Hereditary – Le radici del male, Mafia Mamma). 

    Discussing Film scrive che Juror #2 potrebbe anche non essere davvero l’ultimo film di Clint Eastwood, nonostante i piani attuali del filmmaker, che spegnerà 93 candeline il prossimo 31 maggio, sarebbero quelli di ritirarsi completamente dalle scene una volta finito di lavorare a questa produzione.

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    Enrico Borghesio
    Redattore news

  • David di Donatello 2023 – Tutte le nomination

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    Giovedì 30 marzo durante una live sui social sono state annunciate le candidature dei David di Donatello 2023. 

    La conferenza stampa

    La conferenza stampa di annuncio è stata condotta da Stefano Coletta (direttore intrattenimento prime time RAI), Piera Detassis (presidente e direttrice artistica dell’Accademia del Cinema Italiano), Nicola Maccanico (AD di Cinecittà), il conduttore Carlo Conti, Lucia Borgonzoni (sottosegretario del MIC) e Giovanni Anversa (vice direttore intrattenimento prime time RAI).

    Coletta in particolare ha anticipato che quest’anno è in programma una prima serata più interessante e meno ingessata del solito, prevedendo anche una micro-parte di show per intrattenere il pubblico. Ha poi dichiarato che “per RAI sia sempre un dovere dare spazio alla decima musa, perché il cinema forse è anche uno degli ultimi spazi di libertà nel codice espressivo, porta l’evasione, uno sguardo slargato dal presente e dà la possibilità allo spettatore sia di evadere che si acquisire. Il cinema è un collante tra memoria e presente”. 

    I candidati 

    I 26 film candidati sono usciti al cinema dal 1˚ marzo 2022 al 31 dicembre 2022, e sono stati votati dal 1° al 14 marzo 2023 dai componenti la Giuria dell’Accademia. A guidare le candidature c’è Esterno Notte di Marco Bellocchio con 18 nomine, seguito da La stranezza e Le Otto Montagne, entrambi con 14, e Il Signore delle Formiche con 11.

    Alcune nomination sono state subito accolte con perplessità: l’entità unica Ficarra & Picone, candidati in coppia come protagonisti in La Stranezza di Roberto Andò e le nomination a Esterno Notte come film pur trattandosi in realtà di una miniserie in sei puntate (distribuita in sala in due parti).

    I David già assegnati

    Durante la conferenza stampa delle candidature sono stati già comunicati i vincitori di due David. Il David dello Spettatore, assegnato al film italiano con maggiori presenze in sala durante il 2022, va a Il grande giorno di Massimo Venier con Aldo, Giovanni e Giacomo, che ha contato 1.013.812 spettatori. 

    Il David al Miglior Cortometraggio, assegnato da una giuria speciale composta da Domenico Dinoia, Mauro Donzelli, Francesco Giai Via, Marzia Gandolfi, Paola Jacobbi, Maria Grazia Mattei, Claudia Panzica, Marina Sanna, Maria Carolina Terzi, è andato Le variabili dipendenti di Lorenzo Tardella.

    La cerimonia di premiazione

    La cerimonia di premiazione dei 68° David di Donatello si svolgerà agli Studi Lumina, “addobbati e riorganizzati per l’occasione” in partnership con Cinecittà, e si terrà mercoledì 10 maggio, trasmessa in prima serata su Rai Uno con la conduzione di Carlo Conti, che verrà affiancato dall’attrice Matilde Gioli (la cui partecipazione alla serata è stata annunciata durante la conferenza stampa).

    Di seguito la lista completa dei candidati espressi in ordine alfabetico.

    Nomination

    MIGLIOR FILM

    MIGLIOR REGIA

    • Marco Bellocchio (Esterno Notte)
    • Gianni Amelio (Il Signore delle Formiche)
    • Roberto Andò (La Stranezza)
    • Felix Van Groeningen & Charlotte Vandermeersh (Le Otto Montagne)
    • Mario Martone (Nostalgia)

    MIGLIOR ESORDIO ALLA REGIA

    • Carolina Cavalli (Amanda)
    • Jasmine Trinca (Marcel!)
    • Niccolò Falsetti (Margini)
    • Giulia Louise Steigerwalt (Settembre)
    • Vincenzo Pirrotta (Spaccaossa)

    MIGLIORE SCENEGGIATURA ORIGINALE

    • Astolfo (Gianni Di Gregorio, Marco Pettenello)
    • Chiara (Susanna Nicchiarelli)
    • Esterno Notte (Marco Bellocchio, Stefano Bises, Ludovica Rampoldi, Davide Serino)
    • Il Signore delle Formiche (Gianni Amelio, Edoardo Petti, Federico Fava)
    • L’Immensità (Emanuele Crialese, Francesca Manieri, Vittorio Moroni)
    • La Stranezza (Roberto Andò, Ugo Chiti, Massimo Gaudioso)

    MIGLIORE SCENEGGIATURA NON ORIGINALE

    • Bentu (Salvatore Mereu)
    • Brado (Massimo Gaudioso, Kim Rossi Stuart)
    • Il Colibrì (Francesca Archibugi, Laura Paolucci, Francesco Piccolo)
    • Le Otto Montagne (Felix Van Groeningen, Charlotte Vandermeersh)
    • Nostalgia (Mario Martone, Ippolita Di Majo)

    MIGLIOR PRODUTTORE

    • Esterno Notte (Lorenzo Mieli, Simone Gattoni)
    • La Stranezza (Angelo Barbagallo, Attilio De Razza)
    • Le Otto Montagne (Wildside, Rufus, Menuetto, Pyramide Productions, Vision Distribution, Elastic, Canal+, Ciné+, Sky)
    • Nostalgia (Medusa Film, Maria Carolina Terzi, Luciano e Carlo Stella, Roberto Sessa, Angelo Laudisa)
    • Princess (Carla Altieri, Roberto De Paolis, Nicola Giuliano, Francesca Cima, Carlotta Calori, Viola Prestieri, Rai Cinema)

    MIGLIORE ATTRICE PROTAGONISTA

    • Amanda – Benedetta PORCAROLI
    • Esterno notte – Margherita BUY
    • L’immensità – Penelope CRUZ
    • Settembre – Barbara RONCHI
    • Siccità – Claudia PANDOLFI

    MIGLIOR ATTORE PROTAGONISTA

    • Esterno notte: Fabrizio GIFUNI
    • Il signore delle formiche: Luigi LO CASCIO
    • La stranezza: FICARRA e PICONE
    • Le otto montagne: Alessandro BORGHI
    • Le otto montagne: Luca MARINELLI

    MIGLIORE ATTRICE NON PROTAGONISTA

    • Amanda: Giovanna MEZZOGIORNO
    • Esterno notte: Daniela MARRA
    • La stranezza: Giulia ANDÒ
    • Nostalgia: Aurora QUATTROCCHI
    • Siccità: Emanuela FANELLI

    MIGLIOR ATTORE NON PROTAGONISTA

    • Esterno notte: Fausto RUSSO ALESI
    • Esterno notte: Toni SERVILLO
    • Il signore delle formiche: Elio GERMANO
    • Le otto montagne: Filippo TIMI
    • Nostalgia: Francesco DI LEVA

    MIGLIOR AUTORE DELLA FOTOGRAFIA

    • Esterno notte: Francesco DI GIACOMO
    • I racconti della domenica – La storia di un uomo perbene: Giovanni MAMMOLOTTI
    • La stranezza: Maurizio CALVESI
    • Le otto montagne: Ruben IMPENS
    • Nostalgia: Paolo CARNERA

    MIGLIORE COMPOSITORE

    • Esterno notte: Fabio Massimo CAPOGROSSO
    • Il pataffio: Stefano BOLLANI
    • La stranezza: Michele BRAGA, Emanuele BOSSI
    • Le otto montagne: Daniel NORGREN
    • Siccità: Franco PIERSANTI

    MIGLIOR CANZONE ORIGINALE

    • Diabolik – Ginko all’attacco! SE MI VUOI: DIODATO
    • Il colibrì CARO AMORE LONTANISSIMO: Sergio ENDRIGO, Riccardo SENIGALLIA, Marco MENGONI
    • Il pataffio CULI CULAGNI: Stefano BOLLANI, Luigi MALERBA, Stefano BOLLANI
    • Margini LA PALUDE: Niccolò FALSETTI, Giacomo PIERI, Alessio RICCIOTTI, Francesco TURBANTI, Francesco TURBANTI, Emanuele LINFATTI, Matteo CREATINI
    • Ti mangio il cuore PROIETTILI (TI MANGIO IL CUORE): Joan THIELE, Elisa TOFFOLI, Emanuele TRIGLIA, ELODIE, Joan THIELE

    MIGLIORE SCENOGRAFIA

    • Esterno notte: Andrea CASTORINA, Marco MARTUCCI, Laura CASALINI
    • Il signore delle formiche: Marta MAFFUCCI, Carolina FERRARA
    • L’ombra di Caravaggio: Tonino ZERA, Maria Grazia SCHIRIPPA, Marco BAGNOLI
    • La stranezza: Giada CALABRIA, Loredana RAFFI
    • Le otto montagne: Massimiliano NOCENTE, Marcella GALEONE

    MIGLIORI COSTUMI

    • Chiara: Massimo CANTINI PARRINI
    • Esterno notte: Daria CALVELLI
    • Il signore delle formiche: Valentina MONTICELLI
    • L’ombra di Caravaggio: Carlo POGGIOLI
    • La stranezza: Maria Rita BARBERA

    MIGLIOR TRUCCO

    • Dante: Federico LAURENTI , truccatore prostetico o special make-up LORENZO TAMBURINI
    • Esterno notte: Enrico IACOPONI
    • Il colibrì: Paola GATTABRUSI, truccatore prostetico o special make-up LORENZO TAMBURINI
    • Il signore delle formiche: Esmé SCIARONI
    • L’ombra di Caravaggio: Luigi ROCCHETTI

    MIGLIOR ACCONCIATURA

    • Esterno notte: Alberta Giuliani
    • Il signore delle formiche: Samantha Mura
    • L’immensità: Daniela Tartari
    • L’ombra di Caravaggio: Desiree Corridoni
    • La stranezza: Rudy Sifari

    MIGLIORE MONTAGGIO

    • Esterno notte: Francesca Calvelli (con la collaborazione di Claudio Misantoni)
    • Il signore delle formiche: Simona Paggi
    • La stranezza: Esmeralda Calabria
    • Le otto montagne: Nico Leunen
    • Nostalgia: Jacopo Quadri

    MIGLIOR SUONO

    • Esterno notte: Presa diretta Gaetano Carito, Post-Produzione Lilio Rosato, Mix Nadia Paone
    • Il signore delle formiche: Presa diretta Emanuele Cicconi, Post-Produzione Mimmo Granata, Mix Alberto Bernardi
    • La stranezza: Presa diretta Carlo Missidenti, Post-Produzione Marta Billingsley, Mix Gianni Pallotto
    • Le otto montagne: Presa diretta Alessandro Palmerini, Post-Produzione Alessandro Feletti, Mix Marco Falloni
    • Nostalgia: Presa diretta Emanuele Cecere, Post-Produzione Silvia Moraes, Mix Giancarlo Rutigliano

    MIGLIORI EFFETTI VISIVI – VFX

    • Dampyr: Alessio Bertotti, Filippo Robino
    • Diabolik – Ginko all’attacco!: Simone Silvestri, Vito Picchinenna
    • Esterno notte: Massimo Cipollina
    • Le otto montagne: Rodolfo Migliari
    • Siccità: Marco Geracitano

    MIGLIOR DOCUMENTARIO

    • Il cerchio: Sophie Chiarello
    • In viaggio: Gianfranco Rosi
    • Kill Me If You Can: Alex Infascelli
    • La timidezza delle chiome: Valentina Bertani
    • Svegliami a mezzanotte: Francesco Patierno

    MIGLIOR FILM INTERNAZIONALE

    • Bones and All: Luca Guadagnino (Vision Distribution)
    • Elvis: Baz Luhrmann (Warner Bros. Pictures)
    • Licorice Pizza: Paul Thomas Anderson (Eagle Pictures)
    • The Fabelmans: Steven Spielberg (01 Distribution)
    • Triangle of Sadness: Ruben Östlund (Teodora Film)

    DAVID GIOVANI (assegnato da una giuria nazionale di studenti degli ultimi due anni di corso delle scuole secondarie di II grado)

    • Corro da te: Riccardo MILANI
    • Il colibrì: Francesca ARCHIBUGI
    • L’ombra di Caravaggio: Michele PLACIDO
    • La stranezza: Roberto ANDÒ
    • Le otto montagne: Felix VAN GROENINGEN e Charlotte VANDERMEERSH

    MIGLIOR CORTOMETRAGGIO (assegnato da una giuria speciale)

      • Albertine Where Are You?: Maria GUIDONE
      • Ambasciatori: Francesco ROMANO
      • Il barbiere complottista: Valerio FERRARA
    • Le variabili dipendenti: Lorenzo TARDELLA
    • Lo chiamavano Cargo: Marco SIGNORETTI

    DAVID DELLO SPETTATORE (consegnato al film italiano con maggiori presenze in sala del 2022) 

    Il grande giorno: Massimo VENIER — 1.013.812 presenze in sala

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    Edoardo Borghesio
    Redattore news

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    Enrico Borghesio
    Redattore news

  • La morte corre sul fiume – La costruzione perfetta di un cattivo

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    Nell’ambito della nostra Settimana a Tema Noir andiamo a riscoprire un capolavoro anni 50, il cui tratto più importante risiede nella costruzione di un personaggio malvagio tra i più perversi della storia del cinema.

    Il film The Night of the Hunter, in italiano La morte corre sul fiume, esce nel 1955 per la regia di Charles Laughton, attore britannico assai eclettico della prima metà del Novecento, Premio Oscar al Miglior Attore Protagonista per Enrico VIII di Alexander Korda nel 1934, qui alla sua unica prova dietro la macchina da presa, nella duplice veste di regista e produttore. Il risultato poco soddisfacente al botteghino del film (unito a qualche scellerata recensione negativa) infatti, non permise a Laughton di intraprendere altri progetti prima della sua morte avvenuta nel 1962. Nonostante ciò la pellicola, basata sul romanzo omonimo di Dave Grubbs del 1953, è riuscito a lasciare la sua impronta nella storia e a buona ragione è considerabile come un capolavoro assoluto del cinema noir e come uno dei film più innovativi del periodo Classico di Hollywood.

    West Virginia, anni ’30. Il sedicente Reverendo Harry Powell, un misterioso e inquietante criminale, ottiene con l’inganno un’informazione dal suo compagno di cella Ben Harper, un uomo condannato a morte per rapina a mano armata con annesso omicidio. Nel sonno infatti Harper pronuncia una citazione della Bibbia che permette a Powell di scoprire l’unica persona a conoscenza del nascondiglio del frutto di una rapina, cioè il piccolo John, suo figlio undicenne. Dopo essere uscito di galera, Powell decide di avvicinare e sedurre la vedova Harper per trovare la refurtiva.

    L’appartenenza o meno del film al genere noir è oggetto di discussione molto frequente tra gli addetti ai lavori. Sono infatti innegabili numerose contaminazioni: l’antefatto è quasi da gangster movie (l’ambientazione, quell’America rurale negli anni 30 della Grande Depressione è la stessa che ha generato figure come Bonnie e Clyde), il rapporto tra i figli di Harper e il nuovo “patrigno” ha sapore di thriller horror. La forte presenza di simbologia biblica, così come la questione del plagio psicologico esercitato da Powell sulla nuova moglie, saranno seminali per l’horror dei decenni successivi. La fuga lungo il fiume dei due bambini, alterna momenti tipicamente western ad altri avventurosi o addirittura fiabeschi (anche se dolcezza e serenità sono due emozioni totalmente assenti in questo film) diventando quasi un film di formazione. Tuttavia la chiave della lettura noir del film sta proprio nell’analisi del suo antagonista, tanto perverso quanto inquietante, interpretato da un magnifico Robert Mitchum, volto stranoto nel genere, qui probabilmente nella prova più convincente e iconica della carriera.

    L’iconografia del personaggio di Powell è perfetta ed entra nella storia del cinema della porta principale. La sua figura affascinante e melliflua raccolta in un abito talare nero e mortifero, la sua voce imponente e i suoi modi eleganti contribuiscono a definire un personaggio ricco di fascino e in grado di ispirare grande fiducia. Sconvolgenti sono, infatti, le scene in cui la sua maschera cade e lascia emergere la sua vera personalità, avida e violenta, a tratti mostruosa, pronta a guadagnare profitto personale ai danni di un’intera famiglia. Lo spettatore deduce fin dal primo incontro che quello da chierico è solo un costume, la gimmick che Powell ha scelto come veicolo per i suoi propositi criminali, e questo lo si evince fin dal suo ingresso in scena:

    “Chi sarà la prossima, Signore? Un’altra vedova? Quante sono state, sei… o dodici? Non ricordo bene… Ho fiducia in te, Signore: tu non mi abbandoni, non mi fai mancare i mezzi per continuare la mia missione… Quante vedovelle con un bel gruzzolo nascosto nella calza… Ah, Signore, sono stanco: alle volte ho paura che tu non mi capisca. Non ti importa se uccido, vero? La Bibbia è piena di uccisioni, ma ci sono cose che tu odi, Signore: la corruzione, la lascivia, la gente profumata che s’inebria nel peccato…”

    Ispirato infatti al fuorilegge realmente esistito Harry Powers, il nostro si ingrazia la fiducia delle sue future vittime con una retorica da altare, a dire la verità nemmeno troppo accurata, ma tanto basta per circuire le sue vittime, tutte da un profilo ben delineato: donne sole, magari vedove, con un po’ di risparmi da parte e ferventi religiose, o semplicemente molto ingenue, come la vedova Willa Harper (Shelley Winters), la vecchia e bisbetica bottegaia Icey (Evelyn Varden) o giovanissime come la piccola Pearl Harper (Sally Jane Bruce) e Ruby (Gloria Castillo) al contrario risulta totalmente inadeguato e persino ridicolo davanti a figure più risolute come la signora Rachel Cooper (Lillian Gish) o lo stesso John (Billy Chapin).

    Troviamo quindi una perfetta rappresentazione della critica del film verso l’arretratezza culturale e il fanatismo religioso anche nell’immagine più iconica e citata del film: i tatuaggi sulle nocche di Powell con le scritte LOVE e HATE, amore e odio, con cui Powell inscena una misera farsa di lotta tra bene e male che tuttavia risulta molto efficace su menti più deboli.

    Quest’iconografia, unita a momenti assolutamente immortali come la sua prima ombra sulle vite dei due bambini protagonisti (quando ancora la minaccia in realtà è lontana), oppure la sua cavalcata al chiaro di luna intonando la macabra nenia Leaning on the Everlasting Arms, segnali di una regia più audace di altre sue coeve nonché supportata da una fotografia fortemente debitrice dell’espressionismo, rendono il personaggio di Harry Powell uno dei più affascinanti villain della storia del cinema, in uno dei più grandi film noir che siano mai stati girati.

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    Nicolò Cretaro,
    Redattore.

  • Un bacio e una pistola – Al capolinea del genere Noir

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    Kiss Kiss Bang Bang

    Un bacio, una pistola e un insulso, intorpidito private eye dei sobborghi californiani – di rude pesantezza fin dal nome: Mike Hammer -, che sbarca il lunario con squallidi ricatti, usando l’amante-assistente come esca per gonzi. Un’affannata donna in fuga che chiede soccorso in strada, nuda sotto l’impermeabile, tra i fari delle auto in corsa nella notte. Un suadente e implacabile antagonista senza volto che cammina felpato in eleganti scarpe scamosciate. Un’occulta e bramata shining box all’ombra di un fitto intrigo politico e criminale, fino a un’accecante esplosione che polverizza codici e immaginario del noir tradizionale, dirottato al suo stremato e irreversibile punto di non ritorno (ben tre anni prima di L’infernale Quinlan (Touch of Evil, 1958) di Orson Welles): queste le coordinate d’innesco e detonazione di una potente bomba di schegge visive e narrative, a orologeria scombussolata, come Kiss Me Deadly (1955) di Robert Aldrich.

    Pulp fiction nucleare

    Veloce, cinico e avvincente B-movie tratto dall’omonimo romanzo pulp-hard-boiled del ruvido Mickey Spillane (edito in Italia col titolo Bacio Mortale), radicalmente rovesciato nei suoi stilemi machisti e destrorsi, nella decostruzione dei caratteri e nello sferzante intento critico dalla geometrica e ricorsiva sceneggiatura di A.I. Bezzerides. Realizzato con poco più di quattrocentomila dollari e presto assurto all’aura di fulgido e anarchico capolavoro di rottura.

    Dietro l’umanità desolata e le torbide spoglie di un’aggrovigliata e centrifuga detection story, spiattellata tra i resti delle ombre stilizzate del noir vecchia maniera e l’ariosa nitidezza vitrea e penetrante degli ambienti comfort del nuovo stile di vita americano, il film scoperchia – insieme al contenuto deflagrante della valigetta dall’aura luminescente (McGuffin poi sfruttato a ripetizione, dalla sci-fi comedy Repo Man – Il recuperatore (1984) ai detour postmoderni di Pulp Fiction, 1994) – la sordida degenerazione morale, il caos disordinato, gli umori acri e avvelenati e la persistente atmosfera malsana di isteria paranoica che a metà anni ’50, ben nascosti dall’abulia annoiata del benessere consumista, azzannavano il ventre molle e annichilito di un’America dispersa, svilita e svalutata. 

    Appena uscita – forse – dai dolorosi postumi del conflitto mondiale e dalla delirante deriva persecutoria del maccartismo – il Senatore-inquisitore si dimette nel gennaio del ’55 dalla commissione d’inchiesta sulle attività antiamericane, mentre il film di Aldrich esce a maggio -, ma ancora impantanata nelle spire della temuta catastrofe atomica, incubo tangibile quanto impalpabile, subdolamente inoculato nel più intimo tessuto delle relazioni sfibrate dal sospetto e dall’inganno imperversanti ad ogni livello. Un bacio e una pistola è una radiografia di questa crisi, di una nevrotica paralisi sociale e un disturbante senso di squilibrio e disorientamento. Un acuto e visionario science-fiction noir, che anticipa di un anno perfino L’invasione degli ultracorpi (1956) di Don Siegel, nel suo angosciante spirito nichilista, teso sul baratro dell’estinzione terminale della razza umana irrimediabilmente corrotta.

    Série Noire: Dal Falcone Maltese alla Bomba Atomica

    La critica francese fu lesta ad acclamare Kiss Me Deadly in tempi non sospetti, grazie soprattutto alla penna illuminata dei giovani turchi dei Cahiers du Cinema, in testa François Truffaut, che eleggeva Kiss Me Deadly a “film americano più originale dai tempi di La signora di Shanghai di Orson Welles”. Tirando le somme dell’evoluzione del noir americano, nel saggio Panorama du film noir américain 1941 – 1953 – uscito nel 1955 proprio come il film di Aldrich, ritratto in una celebre foto in cui tra le mani stringe proprio il suddetto libro -, gli autori Raymond Borde e Etienne Chaumeton scrivono:

    “Questo [Un bacio e una pistola] è il disperato rovescio della medaglia del film che quattordici anni prima ha inaugurato la serie di noir, Il Mistero del Falco (1941). Il tema è lo stesso: la ricerca di un tesoro, una statuetta o una cassaforte d’acciaio. L’eroe è lo stesso: un detective privato, al tempo stesso duro e vulnerabile, che adora bere pesante, fare a pugni, e che è la vittima designata dal destino di colei che rimarrà la sua controparte oggettiva: l’avida, desiderabile e frigida femmina. Ma tra il 1941 e il 1955, tra la vigilia di una guerra e l’avvento della società dei consumi, il tono è cambiato. Un violento lirismo ci getta in un mondo in manifesta decomposizione, governato da un vivere dissoluto e dalla brutalità; a questi intrighi di uomini selvaggi e smidollati, Aldrich offre la più radicale delle soluzioni: l’apocalisse nucleare.” 

    Non sapremmo riassumere meglio la rivoluzione concettuale e la cesura storica rappresentate da Kiss Me Deadly. Un’opera-epitaffio che si approssima, cupa e pessimista, verso un ineluttabile senso di perdizione alienata e funerea fine dei tempi, scatenando il brutale sconvolgimento estetico e stilistico di un genere all’epoca più che consolidato. Se è infatti vero che, nei termini di Paul Schrader, “il noir è una visione morale della vita basata sullo stile, capace di risolvere i conflitti in termini visivi e non tematici” (Notes on Film Noir, Film Comment, 1972), allora la colposa frantumazione prospettica di questo mondo in decadenza – oltre le diramazioni plurime e le piste accumulate dalla trama in un nodo gordiano che si stringe come un cappio intorno al collo di Hammer -, passa innanzitutto attraverso l’incrinatura formale dei pilastri che lo hanno tenuto in piedi.

    Lost highways al crocevia della morte

    Le dissonanti infrazioni di Aldrich al codice noir sono già evidenti nel brusco inizio in medias res, che ci catapulta immediatamente al centro dell’azione e del movimento (la donna che corre in strada), senza preamboli, flashback o indicazioni (stradali). Con i titoli di testa in reverse, al contrario, in scorrimento dal basso in alto, come una scritta proiettata a rovescio in uno specchio, a suggerire subito una lettura degli eventi in direzione inversa e non canonica, simbolo grafico di un film che percorre pericolosamente in senso di marcia opposto l’autostrada principale del genere (la donna in pericolo che si sbraccia tra le vetture in mezzo alla carreggiata) e lo induce a sbandare in testacoda (come accade alla Jaguar di Mike Hammer franata a bordo strada).

    Una legge dello slittamento narrativo a cui si adegua anche l’inquadratura nel climax rivelatore: lo svelamento dell’identità del Dottor Soberin (fin lì misteriosa eminenza grigia) avviene proprio con un movimento di macchina a salire dal basso in alto, che da gambe e piedi passa a mostrarne finalmente corpo e volto a figura intera.

    Un altro scarto significativo riguarda la particolare modulazione della voice over, tipico tratto distintivo del genere, ombroso timbro introduttivo della discesa nebbiosa e allucinata nel gorgo dell’intrigo noir. Qui è assente come filo conduttore degli eventi, non appartiene più al fumoso deliquio del protagonista o alla coscienza impersonale di un narratore onnisciente, ma proviene, intermittente e fuori campo (visivo), dalle ipnotiche dissertazioni dello sconosciuto assassino: una stentorea, calma e luciferina voce parziale in assenza, come quella di un imperturbabile e modernissimo villain bondiano alla Blofeld, che inietta sieri della verità mentre filosofeggia arguto di morti e resurrezioni, come un oscuro deus ex machina.

    Riflessi in uno specchio (chiaro)scuro

    Quasi avesse recepito in anticipo i dettami sugli orizzonti del quadro espressi dal John Ford spielberghiano di The Fabelmans, Aldrich installa una ripetuta dialettica alternata di angolazioni dal basso, distorsioni sghembe e oblique (il risveglio off focus di Mike in ospedale) e suggestive prospettive dall’alto: spesso con la figura di Hammer posta al centro di una rete di scale e ripide scalinate, ringhiere, ingressi e corridoi, linee di luci e ombre che sembrano avvinghiarlo in trappola, nei fiochi interni di abitazioni vittoriane e nascondigli striminziti in cui si annidano gli indiziati a cui fa visita (quasi sempre di notte).

    Ma alle tipiche deformazioni prospettiche e al sapiente découpage derivati del classicismo noir (si veda l’uso di specchi, ombre, ellissi temporali, montaggio svelto e ansiogeno nella sequenza del pedinamento di Hammer sul marciapiede), il regista – coadiuvato dall’abbacinante nitore della fotografia di Ernest Laszlo – contrappone l’ampia e sinuosa spazialità in piena luce dell’appartamento borghese del detective, percorso più volte lateralmente da morbide panoramiche eye-level, incassate dietro arredi e oggetti del lezioso décor che svettano in primo piano (speculari alle lise calzamaglie stese nella frugale topaia del tenore fallito Carmen Trivago). In un arioso living room che pare un artefatto set televisivo, misto di eleganza classica, modernità tecnologica (i rulli della segreteria telefonica a muro) e quadri di espressionismo astratto (preciso fil rouge artistico della narrazione, dal dipinto con figura a braccia e gambe incrociate a X, nella camera da letto della vittima femminile – che anticipa il destino di Hammer legato mani e piedi al letto dai malavitosi – alla sortita di Mike tra le sale di una pinacoteca).

    Traslocando la messinscena dalla canonica planimetria del noir – che notoriamente predilige diagonali scoscese, sviluppo verticale, taglienti luci a fessura negli uffici rabbuiati del private eye -, Aldrich immerge l’istintiva sgradevolezza di Hammer (complice un viscido e scontroso Ralph Meeker, che non fa nulla per smuovere l’empatia dello spettatore) nell’appiattimento orizzontale della sua ordinaria e patinata mediocrità domestica, che lo vede brancolare svogliato e pensoso su e giù – e a vuoto – per i corridoi di casa, o sdraiato in una inconcludente apatia.

    Le fiamme del peccato (mortale), i cavalieri dell’apocalisse noir

    Alla prosa grezza e sbrigativa di Spillane, Aldrich e Bezzerides – sostituito l’oggetto del contendere con uno spunto più originale (il ribollente crogiolo nucleare in luogo del banale mucchio di soldi e droga) – aggiungono un robusto sostrato di riferimenti alla mitologia: un sottotesto che ben si raccorda a una vicenda che intesse e cifra il suo enigma centrale (il misterioso “great whatsit” contenuto nella cassetta) intorno a una perversa rilettura moderna, scorata e disillusa della ricerca del Sacro Graal dislocata tra le losche arterie suburbane della California: un fosco anti-mito di strada decostruito nell’impatto brutale con la meschina incidenza del reale, un sordido poema criminal-cavalleresco di morbosa e sregolata avidità, con Hammer in vesti di rozzo e improbabile Galahad, inadeguato al ruolo e completamente soggiogato dagli eventi. Già nel precedente Singapore: intrigo internazionale (World for Ransom, 1954), prova generale della destrutturazione critica dell’idealismo dell’(anti)eroe noir perfezionata in Kiss Me Deadly, il detective protagonista era deriso per essere pietosamente unfit al ruolo del prode e irreprensibile cavaliere senza macchia. (“You shouldn’t play Galahad. You’re way out of character”).

    Altri espliciti paralleli mitologici (citati dal mellifluo Dottor Soberin), sempre riversati sulla scatola misteriosa, sono impiegati per accrescere di sensi inediti le irresistibili pulsioni e l’azione ossessiva della tipica femme fatale doppiogiochista dell’universo noir, qui animata dal fervore di una curiosità irrazionale e trascendente – quasi in trance – ben lontana dal bieco calcolo manipolatore della comune dark lady: l’immagine – quasi da cripta gothic-horror alla Mario Bava, di Lily Carver/Gabrielle urlante e incenerita dalle poderose fiammate di luce, raduna in un unico archetipo il castigo divino conseguente all’apertura del Vaso di Pandora, e l’infrazione scopica della moglie di Lot nella Genesi (trasformata in una statua di sale per aver guardato Sodoma) e di chi incrocia lo sguardo di Medusa (finendo tramutato in pietra). Nell’atmosfera infernale e demoniaca del finale, la scritta “The End” compare senza catarsi ad avvertirci che, in un tripudio di luce abbagliante che rischiara un’ultima volta la spessa notte del noir, l’apocalisse è appena iniziata…

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    Daniele Badella,
    Redattore.

  • Alicia Vikander e Michael Fassbender insieme in Hope, il nuovo film di Na Hong-Jin

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    Deadline riporta che la coppia di attori Alicia Vikander e Michael Fassbender saranno i protagonisti del thriller Hope, nuovo progetto dell’acclamato regista coreano Na Hong-Jin dopo il successo di The Wailing (Goksung – La presenza del diavolo), presentato a Cannes nel 2016. 

    Dopo le ulteriori fasi di casting, le riprese del nuovo lungometraggio dovrebbero iniziare verso fine anno in Corea. La storia di Hope, girato in inglese e coreano, seguirà gli abitanti di Hopo Port, dove viene compiuta una misteriosa scoperta ai confini della città. I residenti si troveranno così alle prese con una lotta per la sopravvivenza contro qualcosa che non avevano mai affrontato prima.

    Il regista e sceneggiatore Na Hong-Jin ha dichiarato: “Alle volte la buona volontà di una persona può portare a una catastrofe non voluta semplicemente a causa delle differenze esistenti nelle prospettive. La mia speranza per questo film è di catturare cinematograficamente quel fenomeno in un modo non ancora visto”.

    Hope sarà finanziato dall’etichetta coreana di produzione e distribuzione Plus M Entertainment, posseduta dalla catena di multisala Megabox. Nel team del nuovo film è coinvolto anche il direttore della fotografia Hong Kyung-pyo, collaboratore abituale di Bong Joon-ho già noto per Parasite e alla sua seconda collaborazione con Na Hong-Jin dopo The Wailing.

    Michael Fassbender e Alicia Vikander, che avrebbero deciso di partecipare al nuovo lavoro di Na Hong-Jin colpiti da The Wailing, avevano già recitato insieme in La luce sugli oceani del 2017. Oggi sono una delle coppie più amate di Hollywood, anche nella vita privata, e nel 2021 sono diventati genitori del loro primo figlio.

    Alicia Vikander, premio Oscar per The Danish Girl, è celebre per i suoi ruoli Ex Machina e Tomb Raider e prossimamente interpreterà la sesta e ultima moglie di Enrico VIII Katherine Parr in Firebrand di Karim Ainouz, insieme a Jude Law nei panni del re. Invece Michael Fassbender, star di X-Men e candidato all’Oscar per 12 anni schiavo e Steve Jobs, sarà protagonista di Next Goal Wins di Taika Waititi e del thriller di David Fincher per Netflix The Killer.

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    Edoardo Borghesio
    Redattore news

  • Master Gardener – Trailer ufficiale dell’ultimo film di Paul Schrader

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    Il critico e sceneggiatore cinematografico Paul Schrader fa parlare moltissimo di sé con i suoi giudizi taglienti sul mondo del cinema contemporaneo che pubblica su Facebook, ma continua anche a far parlare di sé con i suoi film. 

    TRAILER ORIGINALE

    Dopo il successo degli ultimi First Reformed e Il collezionista di carte, Schrader è tornato lo scorso settembre al Festival di Venezia con il suo ultimo film Master Gardener, in uscita negli Stati Uniti il 19 maggio e presto anche in Italia distribuito da Movies Inspired.

    Sinossi: Narvel Roth è il meticoloso orticoltore dei Gracewood Gardens, una splendida tenuta di proprietà della ricca vedova Mrs. Haverhill. Quando la donna chiede a Roth di assumere come apprendista la sua problematica pronipote Maya, la vita di Narvel precipita nel caos ed emergono oscuri segreti del suo passato. Presto Roth scopre di dover scegliere tra le due donne: la vedova e la giovane nipote.

    Nel film scritto e diretto dall’autore di Taxi Driver sono protagonisti Joel Edgerton e Sigourney Weaver, nei panni rispettivamente di Narvel Roth e della signora Haverhill. Quintessa Swindell interpreterà Maya, la tormentata pronipote della vedova Haverhill, ed Esai Morales sarà l’ufficiale di protezione dei testimoni di Roth. 

    Il film è prodotto da Amanda Crittenden di KOJO Studios, Scott LaStaiti e David Gonzales.

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    Edoardo Borghesio
    Redattore news

  • Il Sol dell’Avvenire – Trailer del nuovo film di Nanni Moretti

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    A una decina di giorni dalla diffusione del suo poster, è arrivato online anche il primo trailer ufficiale di Il sol dell’avvenire, l’atteso nuovo film di Nanni Moretti, il quattordicesimo di finzione della sua carriera, che ha sceneggiato assieme a Francesca Marciano, Federica Pontremoli e Valia Santella. 

    Ecco il trailer, direttamente dal profilo Instagram di Nanni Moretti, unico luogo in cui è stato finora condiviso su canali ufficiali.

    https://www.instagram.com/reel/CqXYfULNoiK/

    Il debutto nelle sale è previsto per aprile, ma il film è anche uno dei quattro titoli italiani che in queste ore si stanno contendendo un posto nel concorso del Festival di Cannes 2023, assieme ai nuovi film di Marco Bellocchio (La conversione), Matteo Garrone (Io capitano) e Alice Rorhwacher (La chimera). Moretti è un abituale frequentatore e presenza fissa della Croisette, ed è stato anche presidente di giuria nel 2011.

    Dalle prime immagini mostrate apprendiamo alcuni elementi della trama ancora misteriosa di Il sol dell’avvenire, che sembra essere pieno di auto-citazioni dell’opera del suo regista. Moretti stesso dà il via al trailer con un “Azione!” gridato davanti alle insegne del PCI, apparendo nei panni di un regista alle prese con un film, affiancato dalla storica partner di scena Margherita Buy che anche qui pare essere sua moglie.

    Il film nel film dovrebbe essere ambientato nel mondo del circo tra gli anni ’50 e ’70, ed è interpretato dallo storico attore-feticcio Silvio Orlando, che afferma di aver sempre sognato di fare “un personaggio che alla fine si impicca”. E anche se all’inizio del trailer la star francese Mathieu Amalric dice a Moretti che che “Il tuo film è un film sovversivo”, non manca una battuta sui proverbiali “190 paesi” di Netflix, di cui una dirigente interpretata da Elena Lietti bolla la sceneggiatura del film del personaggio di Moretti come “uno slowburner” che non esplode.

    A completare il cast di Il sol dell’avvenire già composto da Nanni Moretti, Margherita Buy, Silvio Orlando, Mathieu Amalric ed Elena Lietti, troviamo anche Barbora Bobulova e Valentina Romani. Tra le canzoni del trailer ascoltiamo Vorrei vederti danzare di Franco Battiato, Lontano lontano di Luigi Tenco, e Think di Aretha Franklin.

    Il sol dell’avvenire di Nanni Moretti debutterà nelle sale il 20 aprile, distribuito da 01 Distribution. 

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    Enrico Borghesio
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  • Asteroid City – Trailer del nuovo film di Wes Anderson

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    Tra martedì 28 e mercoledì 29 marzo sono approdati online il primo poster e trailer di Asteroid City, nuovo atteso film di Wes Anderson. Per il momento il trailer di due minuti e mezzo è disponibile solamente in originale con sottotitoli in italiano.

    TRAILER ORIGINALE SUB ITA

    Secondo le indiscrezioni di Variety, Asteroid City potrebbe debuttare in anteprima al prossimo Festival di Cannes prima dell’uscita nei cinema americani il 16 giugno. Fuori dagli Stati Uniti sarà la Universal a distribuire la pellicola, che in Italia arriverà il 14 settembre.

    A guidare il cast all-star del nuovo film vi è Jason Schwartzman, che non ricopriva il ruolo di protagonista di un film dell’amico Wes Anderson dai tempi di Rushmore, anche se in Asteroid City rimane l’impostazione tipicamente corale degli ultimi film del regista texano.

    Il grande assente dal cast è Bill Murray, l’attore feticcio di Anderson, mentre affianco a Schwartzman troviamo Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Ed Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, Jake Ryan, Grace Edwards, Aristou Meehan, Sophia Lillis, Ethan Lee, Jeff Goldblum e Rita Wilson.

    Asteroid City viene descritto come “una meditazione poetica sul senso della vita“. Il film, scritto dallo stesso Anderson e Roman Coppola, “racconta la storia di un’immaginaria città americana nel deserto, intorno al 1955, e della sua convention di Junior Stargazer, che riunisce studenti e genitori da tutto il Paese per competizioni accademiche, riposo e svago, commedia, dramma, romanticismo e altro ancora“.

    Non sarà l’unico film di Wes Anderson a uscire nel 2023, dal momento che è atteso per l’autunno il debutto su Netflix di The Wonderful Story of Henry Sugar, tratto dal racconto breve di Roald Dahl e interpretato da Benedict Cumberbatch, Ralph Fiennes, Dev Patel, Ben Kingsley, Rupert Friend e Richard Ayoade.

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    Enrico Borghesio
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