FRAMES CINEMA

Category: Recensioni

Recensione The Bikeriders – Ribellione, identità e libertà

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L’America rappresentata da Laszlo Benedek in The Wild One (1953), quella conservatrice del secondo dopoguerra, prendeva la forma di una piccola cittadina californiana dove il tempo sembrava essersi fermato nel vecchio west. Un’America spaventata dal cambiamento, ostile verso le nuove generazioni in cerca di un qualcosa di diverso rispetto ai soliti valori tradizionali. Johnny Strabler (Marlon Brando) rappresentava il senso comune di alienazione e bisogno di ribellarsi provato da molti giovani dell’epoca. Tra questi figurava John Davis, un camionista di McCook, Illinois, che, ispirandosi proprio al personaggio interpretato da Marlon Brando, fondò il suo club di motociclisti: gli Outlaw MC. Il club si espanse in fretta e divenne presto uno dei più grandi degli Stati Uniti. Il fotografo americano Danny Lyon iniziò a seguire gli Outlaws a metà degli anni ‘60, pubblicando nel 1967 il fotolibro The Bikeriders.

A distanza di quasi sessant’anni dall’opera di Lyon, Jeff Nichols scrive e dirige (prendendosi molte libertà) un adattamento dell’omonimo fotolibro. Il film racconta l’ascesa dei Vandals MC e dei loro membri. Johnny (Tom Hardy), camionista e padre di famiglia, fonda i Vandals dopo la visione di The Wild One, rimanendo profondamente affascinato dal personaggio di Brando e da ciò che esso rappresenta. Benny (Austin Butler) è un vero ribelle, un uomo d’azione impassibile e di poche parole, che ambisce alla libertà più totale e simboleggia tutto ciò che Johnny vorrebbe essere. Consapevole di non essere il leader giusto per il futuro del club da lui stesso creato, Johnny vede in Benny la personificazione degli ideali che lo hanno ispirato a fondare i Vandals, la giusta guida per un gruppo sempre più violento a causa di nuove leve che non riesce più a tenere a bada. Ma il loro è un rapporto di stima reciproca: Johnny è per Benny quasi una figura paterna, colui che gli ha dato la possibilità di esprimersi per ciò che è nel profondo, che lo ha (forse) per la prima volta fatto sentire parte di qualcosa.

A ritrovarsi catapultata in questo mondo è Kathy (Jodie Comer), moglie di Benny e vera e propria narratrice del film. Attraverso una serie di interviste condotte dal personaggio di Danny (Mike Faist), esprime un punto di vista esterno, che offre una prospettiva umana e personale riguardo la vita ribelle dei Vandals, costituito anch’essa da regole e, di conseguenza, mai realmente libera.

Ma la storia dei Vandals è la storia di tutti i club di motociclisti fondati a cavallo tra gli anni ’60 e ‘70, nati come luoghi di ritrovo per persone che un posto non lo avevano e in un’epoca in cui le illusorie sirene del sogno americano mietevano vittime sempre più numerose. E i bikers, equivalenti moderni dei cowboys, non facevano altro che sfidare il rigore di quell’America capitalista. Ma l’inizio della guerra in Vietnam, con il conseguente rientro dei primi veterani, ha dato alla luce una nuova America, violenta ed egoista. Le regole non cambiano, ma sono reinterpretate dai giovani appena rientrati dalla guerra e la cui prospettiva del mondo e della vita è ormai del tutto mutata irreversibilmente.

È la fine dell’epoca d’oro dei bikers, un tempo in cui il peggio che poteva capitargli era di finire investiti da una macchina che usciva da un parcheggio. Johnny vorrebbe Benny come suo successore, considerandolo come l’unico in grado di preservare i valori reali del club. Tuttavia, i suoi ideali gli impongono di non avere responsabilità alcuna, di non attaccarsi a niente e a nessuno.

La libertà, nelle sue molteplici interpretazioni, anima profondamente i personaggi e si riflette magistralmente nell’estetica della fotografia di Adam Stone e nel sonoro. Jeff Nichols dimostra nuovamente una grande abilità, soprattutto per quanto riguarda la direzione degli attori. La fragilità intrinseca del personaggio di Johnny è qui resa alla perfezione nella scelta del timbro vocale di Tom Hardy, stridulo e graffiato, in netto contrasto con l’immagine di forza e invulnerabilità che il personaggio dovrebbe incarnare. Ciò si contrappone efficacemente ai toni più bassi e misurati impiegati da Austin Butler.

Ciò che invece, a mio avviso, non riesce a convincere del film di Nichols è la tendenza a relegare sullo sfondo le forze motrici che animano molti dei personaggi, relegando così elementi cruciali della narrazione a una posizione di secondaria importanza. Inoltre, la gestione del cambio generazionale all’interno del club appare, a sua volta, carente di incisività. Molte delle nuove leve sono violente perché devono esserlo ai fini della narrazione, togliendo profondità a un elemento cruciale quale il passaggio da “club di vandali in motocicletta” a organizzazione criminale organizzata.

Gli anni rappresentati nel film, dal 1965 al 1973, sebbene ricchi di significato storico e culturale, non riescono a imprimere un senso di gravità e rilevanza alla narrazione. Il passare del tempo, che a un film che dipana il suo racconto nell’arco di otto anni dovrebbe conferire una dimensione di evoluzione e trasformazione, risulta così, in alcuni punti, trattato superficialmente. In definitiva, il film sembra, a mio avviso, mancare l’opportunità di sfruttare appieno il potenziale narrativo offerto dal contesto storico in cui è ambientato.

In conclusione, The Bikeriders di Jeff Nichols affronta con maestria temi di identità, ribellione e cambiamento sociale, sfruttando una fotografia e un immaginario che riflettono profondamente l’estetica e il clima dell’epoca. Tuttavia, il relegare in secondo piano le forze motrici che guidano i personaggi verso una ribellione contro l’”American Way of Life” tende a ridurre l’impatto emotivo e narrativo delle vicende rappresentate.

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Simone Pagano,
Redattore.

June 22, 2024
Recensione Inside Out 2: la riconquista della fiducia

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Dopo una serie di giri a vuoto lo studio di Emeryville riesce a centrare il colpo.

Il nuovo film Pixar Inside Out 2, diretto non più da Pete Docter ma dall’esordiente Kelsey Mann, è probabilmente il film più atteso della primavera-estate 2024. Quello che è solitamente uno dei periodi più floridi per il box office stavolta piange lacrime amare a causa della penuria di blockbuster americani. L’ultimo maggio prima della pandemia aveva visto i botteghini di tutto il mondo crollare sotto i colpi di Avengers: Endgame, nel 2022 Tom Cruise aveva iniettato una fiala di imperialismo testosteronico con Top Gun: Maverick mentre il 2023 è stato l’anno del Barbienheimer. L’annata corrente è ancora influenzata dalle conseguenze degli scioperi di sceneggiatori e attori dello scorso anno e per la prima volta in dieci anni a maggio non abbiamo visto nessun film di supereroi. Dall’altra parte la Pixar potrebbe tornare ad incassare seriamente per la prima volta dal 2020. Onward si è visto tagliare le gambe dal Covid, Soul, Luca e Red sono usciti direttamente su piattaforma, Lightyear è stato un flop, Elemental ha raggiunto un profitto minimo. Inside Out 2 sembra essere l’unico film in grado di risollevare lo studio e raggiungere il miliardo di dollari di incasso quest’anno. Probabilmente andrà così.

È passato circa un anno dal finale del primo film, la neo-tredicenne Riley si è ambientata con la sua famiglia a San Francisco e si prepara ad un camp di hockey su ghiaccio organizzato dal liceo in cui sogna di entrare. Le cinque emozioni che vivono nel suo cervello (Gioia, Tristezza, Rabbia, Disgusto e Paura) hanno trovato un equilibrio e tutte concorrono alla salvaguardia del Senso di Sé della ragazza. L’arrivo della pubertà tuttavia comporterà l’ingresso di quattro nuove emozioni (Ansia, Imbarazzo, Noia e Invidia) che mineranno lo status quo.

È senza dubbio rassicurante guardare un nuovo prodotto Pixar che non si limita ad essere blandamente coerente con la propria storia e i propri punti di forza storici (l’immenso comparto grafico, l’inventiva, la creazione di mondi alternativi, la capacità di creare narrazione ad ampio respiro comprensibile su più livelli) ma riesce anche a fornire una evoluzione credibile delle dinamiche psicologiche dei protagonisti. Nell’ultima dozzina di anni troppo spesso abbiamo assistito a sequel dei capolavori Pixar che nemmeno sembravano avere l’ambizione di ricreare le tensioni mature dei propri predecessori (da un Monsters University totalmente slegato dall’originale ad un Toy Story 4 più che superfluo passando per un Alla Ricerca di Dory di carta velina), per non parlare del grandissimo spreco di potenzialità che è stato Lightyear. Inside Out in generale sembrava essere l’unico film post Toy Story 3 ad avere l’ambizione e le spalle larghe della Pixar degli anni 2000, eguagliato forse dal suo contraltare Soul (diretto sempre da Docter), e andando anche a settare un nuovo standard grafico (il mediocre Elemental è davvero troppo derivativo).

Nonostante la classica sfiducia nei sequel e una certa perdita di ammirazione incondizionata per la Pixar odierna, Inside Out 2 riesce fin da subito a dimostrare di avere senso di esistere e magari di generare anche nuove storie in futuro.

Le quattro nuove emozioni appaiono destinate ad essere transitorie, tipiche forse della sola adolescenza e infatti sembrano tutti dei teenager insicuri nel mondo di Monsters & Co.. Ansia (dominante arancione) ha un maglione a righe e un’aria iperattiva, Invidia (verde acquamarina) sembra quasi una anime girl, Noia (o meglio Ennui, violetto) è quasi una emo accidiosa mentre Imbarazzo (rosa) è un gigante incappucciato. Il dualismo tra la nuova leader Ansia e la vecchia leader Gioia è portato sullo schermo in maniera assai interessante.

La sostituzione dei Ricordi Base con il nuovo Senso di Sé ben figura a livello grafico la crescita di Riley e di qualsiasi altro essere umano (ricorda anche il Cristallo di Atlantis) e in generale la morfologia sempre più labirintica della mente della ragazza è una soluzione vincente. Le sue emozioni non sono onniscienti ma acquisiscono competenze con lei, si trovano continuamente in discussione forse in maniera anche più realistica e umana rispetto al primo film. Di certo non possiamo ignorare la totale assenza di pulsioni sessuali o quantomeno sentimentali, poco credibile per una tredicenne. Magari Pixar avrebbe potuto trovare il modo di raffigurare questa tematica anche secondo i suoi parametri e in un eventuale terzo capitolo non si potrà ancora ignorare a lungo questo problema.

In definitiva possiamo dirci soddisfatti di un film che riesce a mantenere i punti di forza del suo predecessore senza compiere rivoluzioni ma senza snaturare o essere offensivo per i creatori e gli spettatori, che potrebbe costituire un tassello per nuove avventure con i migliori auspici e che sembra ricordare alla stessa Pixar come gestire le proprie storie e i propri personaggi. Noi saremo pronti a seguire la crescita di Riley e le sue emozioni, come abbiamo seguito quella di Andy e i suoi giocattoli.

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Nicolò Cretaro,
Redattore.

June 21, 2024
The sweet east – La libertà di scegliere sé stessi o di non scegliere affatto #Biografilm24

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Un’America raccontata in termini satirici facendo grande uso di ironia e stereotipi, ma anche il viaggio di iniziazione di una giovane ragazza che sceglie di mettere al primo posto i suoi desideri per vivere la sua vita. The sweet east riesce ad unire questi due elementi in una poesia visiva brillante e dinamica.

Il film è l’esordio alla regia del direttore della fotografia Sean Prince Williams, ed è stato presentato al Biografilm Festival 2024 nella sezione (di cui è risultato anche vincitore) “Beyond fiction – oltre la finzione”. Questa categoria aveva come proposito quello di esplorare pellicole che si avventurassero in dimensioni surreali e in cui i confini tra realtà e immaginazione si sovrapponessero e confondessero fino quasi a sparire. Coinvolgente e spiazzante, The sweet east rispetta alla perfezione questi parametri, mettendo in scena un racconto picaresco che vede come protagonista la giovane Lillian, studentessa di scuola superiore insoddisfatta della sua vita che coglierà la possibilità di scappare, nel senso letterale del termine, dal tedio della sua quotidianità.

Nel corso di una gita scolastica una serie di eventi porta Lillian, mentre è fuori in un locale di sera, ad abbandonare il suo gruppo di amici. Da quel momento si susseguiranno diverse avventure. La ragazza viaggerà lungo la costa orientale degli Stati Uniti e farà la conoscenza di molte persone; passerà attraverso realtà estremamente variegate le une dalle altre, saltando da gruppi punk a riunioni di neonazisti (e il legame particolare con uno di loro, che si svilupperà sempre a vantaggio di Lillian) e diventerà infine una star cinematografica (la vedremo al fianco di Jacob Elordi).

Scegliere sé stessi

Ciò che rende il racconto caratteristico è la mancanza di un grande coinvolgimento emotivo della protagonista a fronte degli eventi, spesso anche traumatici, che si trova a vivere. Al contrario, fin da subito il suo personaggio sembra caratterizzato da una grande apatia che da un lato può esser vista come la cifra caratteristica delle nuove generazioni, dall’altro può essere semplicemente segno di una straordinaria intelligenza da parte di qualcuno che si trova in situazioni di difficoltà e sceglie di non farsi dominare dalle emozioni e fare la scelta migliore a livello pratico.

Lillian mette sé stessa al primo posto e il podio delle sue priorità è confermato nel corso di tutto il film. Vuole abbandonare ciò di cui è scontenta (la sua vita quotidiana e la relazione con il fidanzato Troy). Nel momento in cui le sue avventure hanno inizio continua a dare importanza solo ai suoi desideri, talvolta incurante dei possibili danni che può provocare alle persone con cui di volta in volta si relaziona. È conscia del grande potere che una ragazza possa avere nel lasciar parlare gli altri e apparire ai loro occhi come ciò che loro vorrebbero. E al momento più opportuno riprendersi la propria libertà e la propria immagine.

La libertà è appunto un tema centrale del racconto: la libertà di essere ciò che si vuole di volta in volta, di vivere esperienze nuove, gratificanti, di scoprire il mondo e anche di adottare un po’ di (a volte) sano egoismo.

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Gaia Fanelli,
Redattrice.

June 18, 2024
Recensione Linda e il pollo – Storia di una piccola rivoluzione

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Ci appare un dato di fatto e una speranza che più di qualcosa si sta muovendo, timido ma deciso, sotto la superficie del cinema d’animazione mainstream. È un discorso affrontato già numerose volte in questi spazi, analizzando l’enorme successo di film d’animazione che, oltre ad ampliare l’orizzonte stilistico del cinema d’animazione e il ventaglio di tecniche possibili, si pongono fieramente in un percorso che mira a scardinare il binarismo cinema per adulti – cinema per bambini imposto. Questo è vero per l’ultimo Miyazaki, per le incursioni nello Spider-Verse, opere d’artigianato e colossi produttivi che alzano l’asticella per la tecnica in un modo che costringe la concorrenza a stare al passo.

Accanto a questi, si pongono anche progetti più piccoli, gemme minori per budget e magari meno prorompenti ma non per questo meno consapevoli. Linda e il pollo è uno di questi. Esordio nell’animazione per Chiara Malta e secondo lungometraggio animato per Sebastian Laudenbach dopo alcuni corti in cui sperimenta il suo stile animato , Linda e il pollo è stato presentato in anteprima italiana alla ventesima edizione del Biografilm Festival.

Inseguire un ricordo

All’origine di tutto è un vuoto, via via popolato da ricordi, da grezze macchie di colore che affollano lo schermo. Uno dei primi ricordi di Linda è quello di suo padre. Ma suo padre è morto; e otto anni dopo, Linda e sua madre Paulette vivono un complicato rapporto madre-figlia, esacerbato da un difficile clima sociale e politico. Paulette accusa ingiustamente Linda del furto di un anello. Ma Il tentativo di Paulette di farsi perdonare degenera in una cascata di furti, inseguimenti e si trasforma piccola rivoluzione personale che si fa strada nella più grande protesta che blocca la città.

La tenacia irrefrenabile dei più piccoli e le mancanze di adulti incasinati gettano ben presto nel caos il quartiere. La caccia al pollo scombina ruoli e istituzioni, e diventa pretesto per una sequela di personaggi azzeccatissimi e gag sotto il segno di un umorismo anarchico. Linda e il pollo vive della gioia per il disordine, del gusto per l’infrazione delle regole, emanazione di una narrazione infantile e solida presa di posizione nei confronti di una certa concezione dell’arte rivolta ai più piccoli.

Il cuore colorato dell’animazione

In Linda e il Pollo, ciascun personaggio è definito da un colore diverso. Con l’eccezione dei rappresentanti dell’autorità, i poliziotti in bicicletta e in tenuta antisommossa, ciascun colore identifica le singole personalità e, allo stesso tempo, disperde i lineamenti e le figure in modo libero, ricercatamente grossolano, elastico nel disegno dei personaggi e nel rispetto delle proporzioni. Uno stile espressivo vivace, come l’irrefrenabile gioia di vivere dei suoi personaggi, capace di trasformarsi in momenti emotivi in cui protagoniste sono la memoria, i sentimenti. Puri, senza compromessi.

L’ode animata alla rivoluzione di Chiara Malta e Sebastian Laudenbach sfugge alle categorizzazioni, ed espande il concetto di animazione, allo stesso tempo semplificandone lo stile e ampliando le possibilità espressive nella ricerca delle emozioni più pure dei personaggi, in un perfetto connubio di cuore e tecnica, risate ed emozioni.

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Valentino Feltrin,
Redattore.

June 18, 2024
The Lost Notebook – La cinefilia nell’ossessione archivistica #Biografilm24

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Cinefilia. Con questo termine, per definizione, si intende l’adorazione per il cinema e per la sua storia. La cinefilia è una forma di passione per il mezzo cinematografico in grado di conquistare il cuore dell’uomo in modo totalizzante.

Come per altri tipi di amore, le forme di espressione della cinefilia sono molte: avere il mito della sala cinematografica e continuare a frequentarla con regolarità può esserne un esempio, così come collezionare DVD andando alla ricerca delle copie più rare ed introvabili. Quando pensiamo ad un cinefilo ci viene in mente qualcuno che svolge tutte queste attività, in più legge libri sul cinema, ascolta podcast sul cinema, frequenta i festival di cinema, insomma vive di cinema.

The lost notebook

The lost notebook, opera seconda della regista danese Ida Marie Gedbjerg Sørensen, è stato presentato al Biografilm Festival 2024. La regista ci racconta la storia reale del suo ritrovamento, durante i suoi anni di studio in Ungheria, di un vecchio quadernetto colmo di annotazioni a proposito di film. Il taccuino era infatti appartenuto ad un vecchio operaio la cui vita era stata scandita dal culto del cinema, e la sua cinefilia si manifestava soprattutto nel suo prender nota, volta per volta, di ogni pellicola guardata. Questa scoperta porta Ida Sørensen a mettersi in contatto con i familiari dell’uomo e a ricostruire con loro la storia di una vita e di un paese tramite l’analisi di 52 anni di appunti sistematicamente organizzati.

La vita di Istvan

Attraverso le testimonianze i pezzi si ricompongono e una figura prende forma, sia nelle sue caratteristiche ma soprattutto nelle sue relazioni con gli altri. Di Istvan sappiamo come amasse particolarmente i film d’azione americani, di come si fosse preso cura del giovane nipote Attila e come visioni collettive dei suoi DVD preferiti fossero un suo grande modo di esprimere affetto.

In effetti The lost notebook è anche un perfetto esempio del modo in cui un’azione vista come individuale per natura, la visione cinematografica, possa nei giusti contesti riuscire ad unire le persone invece che costituire una forma di evasione. Questo vale soprattutto per la famiglia dell’operaio, estremamente frammentata e divisa sotto molti aspetti, ma i cui membri erano legati dalla medesima passione condivisa con meticolosità.

All’interno della ricostruzione storica, sempre partendo dagli appunti, viene anche reso omaggio all’Ungheria e al vissuto dei suoi cittadini, citando ad esempio il traumatico evento della rivoluzione del 1956. Tramite questo interessante tipo di approccio si ha l’opportunità di studiare l’impatto di grandi avvenimenti storici sulle singole vite degli uomini, e in questo caso è stato possibile vederne gli effetti sulle abitudini di visione Istvan.

Attraverso il filtro della cinefilia ci vengono raccontate le vicende di una famiglia, la storia di un popolo, la vita di un uomo. The lost notebook è un omaggio all’amore per il cinema nella sua forma più pura, e la poetica che sottende al racconto messo in scena è la magia delle piccole abitudini, apparentemente poco degne di nota ma in realtà cariche di forza eversiva e straordinaria passione.

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Gaia Fanelli,
Redattrice.

June 16, 2024
Recensione The Watchers – L’orrore fallimentare dell’overexplaining

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Volendo fare una cernita dei film horror tratti da romanzi appartenenti al genere si otterrebbe una lista praticamente infinita: già soltanto con gli infiniti adattamenti dai racconti di Stephen King si riempirebbero pagine intere, ai quali andrebbero poi aggiunti i grandi romanzi gotici, i racconti divenuti ormai dei classici e le nuove storie che giorno dopo giorno arrivano in libreria. Proprio a quest’ultima categoria appartiene The Watchers, romanzo scritto da A.M. Shine e preso come ispirazione da Ishana Night Shyamalan – figlia del ben noto cineasta M. Night Shyamalan – per il suo lungometraggio d’esordio, di cui firma sia la sceneggiatura che la regia. Qualcosa però non è andato per il verso giusto e ciò che Ishana ha portato in sala è, di fatto, ben lontano dalle riuscite pellicole del padre dell’ultimo periodo.

Osservatori, tra cinema e social media

Dopo una tipica corsa da pellicola dell’orrore tra i fitti alberi di una buia foresta, il film ci presenta Mina (Dakota Fanning), una giovane artista che per portare a termine una consegna finisce per perdersi in una misteriosa foresta in Irlanda che sembra senza via d’uscita. Dopo un velocissimo tramonto, la ragazza si ritrova ad inseguire una anziana signora (Olwen Fouéré) fino ad una strana abitazione: composta da una sola stanza con un tavolo, alcune sedie, un divano ed un televisore, ma soprattutto uno specchio come parete. All’interno sono presenti anche Daniel (Oliver Finnegan) e Ciara (Georgina Campbell), costretti di giorno a percorrere la foresta in cerca di una via di fuga e di notte a rintanarsi nella stanza per proteggersi dalle misteriose creature che li osservano attraverso lo specchio.

Da qui il film si dipana per 102 minuti con una storia interessante alla base, soprattutto nel pescare direttamente dal folklore del luogo per inserire creature conosciute anche a livello internazionale – che non approfondiremo per evitare spoiler sgradevoli – e nel presentare nel sopracitato specchio un interessante spunto di riflessione sul concetto di osservatore. Da un lato si presenta infatti l’inevitabile parallelismo proprio con lo spettatore stesso in attesa che i personaggi agiscano per portare avanti la storia – non a caso una delle regole presentate dal personaggio di Madeline è proprio “non volgere le spalle allo specchio”, rispettando quindi la regola teatrale del mai voltare le spalle al pubblico – mentre dall’altro si sviluppa quel concetto di giudizio continuo che si sperimenta attraverso i social, piattaforme in cui ognuno posta i propri contenuti mettendoli alla mercé di osservatori (e giudicatori) di cui noi non vedremo mai il volto.

(Poco) Orrore attraverso lo specchio

Tutti questi aspetti, tuttavia, potrebbero essere ricevuti come una supercazzola di Tognazziana memoria, in quanto l’obiettivo della pellicola si manifesta piuttosto nel semplice tentativo di creare tensione e spavento, dando vita nel complesso solo a banali jumpscare e ad appena un paio di sequenze effettivamente riuscite e capaci di generare la giusta ansia. Se il setting infatti funziona e l’idea di base riesce ad attirare lo spettatore, il film decide però di procedere nel racconto presentando uno dietro l’altro i vari elementi che compongono la narrazione accompagnando però ciascuno di essi con corpose sezioni dialogate – quando non nella forma di veri e propri monologhi – con lo scopo di spiegare per filo e per segno tutto quanto. Se ciò permette anche allo spettatore più distratto di rimanere costantemente all’interno del racconto senza perdersi, comporta al tempo stesso una forte mancanza di tensione, soprattutto con l’avanzare del minutaggio, dal momento che essa, si sa, molto spesso deriva proprio da quel “non sapere”.

Se sul lato narrativo la pellicola mostra più volte il fianco a problematiche tutt’altro che secondarie, sul lato tecnico il tutto si assetta su un livello tutto sommato godibile, soprattutto grazie all’ottima ambientazione, al design dello strano edificio in cui i personaggi trascorrono buona parte del tempo ed alla regia di Ishana che, anche se con qualche scivolone, riesce a creare alcuni scorci interessanti per quanto, troppo spesso, abbastanza anonimi.

Il comparto attoriale porta infine a casa la partita senza infamia e senza lode, con i personaggi comprimari imbrigliati in ruoli di fatto secondari e dalla poca rilevanza e una Fanning nel ruolo di protagonista le cui doti ben altro che scadenti faticano comunque a portare lo spettatore a empatizzare con un personaggio decisamente odioso per cause di sceneggiatura.

Conclusioni

L’esordio sul grande schermo di Ishana Night Shyamalan è purtroppo una pellicola estremamente dimenticabile, dalla premessa di certo interessante ma che non riesce a srotolare nel modo giusto puntando eccessivamente ad una over-exposition, una spiegazione didascalica e superflua di tutto ciò che avviene a schermo, togliendo così anche quel poco di tensione rimasta dopo i banali jumpscare di cui la pellicola risulta infarcita. Sul lato tecnico la situazione si dimostra invece decisamente meno problematica, con una regia accettabile anche se spesso anonima, ma soprattutto grazie a ottime location e scenografie.

È decisamente troppo presto bocciare in toto la carriera della giovane Ishana, che confidiamo capace di rifarsi con le future pellicole, ma di certo non è ancora giunto il momento in cui il grande M. Night uscirà di scena per far spazio alla propria discendenza.

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Mattia Bianconi,
Redattore.

June 10, 2024
Recensione El Paraiso di Enrico Maria Artale

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Una musica latino-americana, una sala da ballo dai toni accesi e un uomo e una donna che danzano tutta la notte, lasciandosi andare a melodie allegre avvolte da una patina di malinconia. La prima sequenza di El Paraiso, nuovo film di Enrico Maria Artale prodotto da Ascent Film, Young Films e Rai Cinema, ci trasporta immediatamente in un’atmosfera nostalgica, presentandoci senza fronzoli i due personaggi principali e il loro modo di vivere attraverso un sentimento disfunzionale e al contempo imprescindibile.

Il regista romano, dopo il documentario Saro (2016) e le serie tv Romulus (2020) e Django (2023), torna al cinema raccontando quella che lui ha definito “una storia d’amore tra una madre e un figlio”. Il lungometraggio, presentato in anteprima alla 80ª Mostra internazionale d’arte cinematografica di Venezia, si è aggiudicato il Premio Arca Cinema Giovani per il miglior film italiano e nella sezione Orizzonti i riconoscimenti per la migliore sceneggiatura e per la migliore interpretazione femminile.

Julio Cesar (Edoardo Pesce) è un quarantenne che abita vicino Fiumicino con sua madre (Margarita Rosa De Francisco), una sessantenne di origini colombiane. I due sopravvivono collaborando con uno spacciatore locale (Gabriel Montesi) e si trascinano da anni in una relazione simbiotica. L’arrivo di Ines (Maria Del Rosario), una ragazza che dalla Colombia deve consegnare alla coppia degli ovuli di cocaina, andrà a minare gli equilibri di un quadro apparentemente sereno.

Il legame dei protagonisti sembra fissato nel tempo e nello spazio. Il loro appartamento, nel quale si svolge gran parte della vicenda, rappresenta lo specchio di questa unione. Gli oggetti, il mobilio e la struttura stessa sembrano immobili e immutati, adagiati e stratificati negli anni, proprio come Julio e sua mamma.

I due, nonostante il rapporto morboso che li unisce, hanno dei temperamenti opposti: lei espressiva, esuberante e irascibile, lui mansueto e remissivo. È proprio questa natura antitetica che definisce i contorni della vicenda, suggellando una connessione impossibile da scalfire. Perfino la lingua che parlano (un misto tra romano e spagnolo) diventa il modo per comprendersi e ripararsi dal prossimo.

La discordanza si riflette anche nelle scelte stilistiche: suoni vivaci e colori sgargianti si frappongono ad ambienti desolati e a dialoghi brevi e incisivi.

Il personaggio di Edoardo Pesce è bloccato in un limbo nel quale ha imparato a stare, è una sorta di eterno adolescente, che non ha conosciuto l’età adulta e guarda al mondo con occhi curiosi, ma spaventati. La madre rappresenta un porto sicuro, un’ancora che tiene ferme le incertezze di un futuro senza prospettive. In questo perenne presente non c’è riservatezza, non ci sono chiavi per le porte delle stanze e non è possibile dedicare un momento a se stessi. L’alternativa a quell’unica forma di amore è solo una dolorosa solitudine.

Julio probabilmente non sa come sognare, ha una conoscenza della realtà limitata e non riesce a immaginare un avvenire senza quel nido rassicurante, ma atrofizzato.

A Margarita Rosa De Francisco è affidata l’interpretazione più controversa, è una donna con un passato oscuro e dal carattere ribelle, ma il suo sguardo a volte perso nel vuoto rivela una dolcezza quasi infantile. Nel momento più toccante l’attrice canta Amor eterno di Rocío Dúrcal accompagnata dalla chitarra di Pesce, lasciando emergere la tristezza che cela il suo personaggio: con gli occhi lucidi e il trucco sbavato scandisce le parole della canzone (“tú eres la tristeza, ay, de mis ojos que lloran en silencio por tu amor”) mentre il figlio la osserva con tenerezza.

Il racconto percorre due strade: nella prima viene presentata una connessione irrinunciabile, nella seconda il protagonista deve affrontare le conseguenze dei suoi sentimenti, provando a ricostruirne le origini.

El paraiso è il luogo da cui proviene la madre, ma esiste davvero? O è solo un posto immaginifico creato per dare speranza a un bambino? Julio vivrà una seconda vita, alla scoperta di un paradiso ritrovato, ma sempre trattenuto da una figura che ormai è parte di lui. Artale lascia lo spettatore sospeso in un ballo senza fine, immortale e indissolubile.

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Maria Cagnazzo,
Redattrice.

June 9, 2024
Recensione Kinds of kindness – Lanthimos ritorna alle origini

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A soli sei mesi di distanza da Poor Things, che appartiene al filone più hollywoodiano della sua produzione e ha ricevuto 4 Oscar nell’edizione appena passata, Yorgos Lanthimos torna nelle sale con Kinds of kindness. In concorso a Cannes 2024, il film è stato scritto a quattro mani con Efthymis Filippou, storico co-sceneggiatore di Lanthimos che aveva firmato, tra gli altri, anche The Lobster (2015) e il Sacrificio del cervo sacro (2017).

Si tratta di un’antologia nella quale le tre storie raccontate non si incrociano mai, pur avendo in realtà molto in comune. Le riprese si sono svolte durante la post produzione di Poor Things, con un budget ridotto (15 milioni di dollari, contro i 35 del film precedente) e parte dello stesso cast: ritroviamo Emma Stone, Willem Dafoe e Margaret Qualley. È presente anche Jesse Plemons, che a Cannes ha ricevuto un meritato premio come miglior attore. Lanthimos torna a immergersi nel surrealismo e nell’esplorazione degli aspetti meno appetibili dell’umanità, quelli più bestiali e meschini, con un distacco da osservatore scientifico privo di qualunque giudizio morale. Questa volta lo fa in maniera particolarmente autoreferenziale, puntando su simbologie che i fan più longevi riconosceranno facilmente.

Le avventure di R.M.F.

Ciascun segmento ha un titolo contenente le iniziali di questo personaggio, R.M.F., fatto che non commenteremo qui per evitare spoiler. Nel primo racconto Robert (Jesse Plemons) è un uomo d’affari che intrattiene una relazione particolare con il proprio superiore (Willem Defoe): questi controlla ogni aspetto della sua vita tramite istruzioni quotidiane estremamente dettagliate e invasive. Quando Robert si rifiuta di eseguire uno dei compiti, l’altro lo accusa di aver smesso di amarlo e tronca improvvisamente la relazione. Robert si trova disorientato, non è in grado di immaginare la propria vita in maniera autonoma, tanto da sforzarsi di riprodurre da solo gli episodi della sua vita che erano stati orchestrati per lui nella sorta di Truman Show in cui viveva. Si lancia poi in una serie di tentativi disperati di riguadagnare l’approvazione dell’uomo, come fosse un bambino che è stato sgridato dal padre, per evitare di venire sostituito con un’amante più obbediente.

Nella seconda parte il protagonista è un poliziotto di nome Daniel, la cui moglie è dispersa in mare. Quando questa fa ritorno a casa, Daniel nota piccole differenze con quella che ricordava essere sua moglie e si convince di star vivendo con una sostituta. Questo capitolo è il più inquietante dei tre, e, a parere di chi scrive, anche il più riuscito. Un elemento che contribuisce a trasmettere l’atmosfera è la dissonanza che si crea quando vengono inseriti elementi splatter senza che i personaggi diano segno di esserne disturbati. Inoltre in questa storia vengono messe in scena la paranoia e il problema dell’identità – altro tema ricorrente nel cinema di Lanthimos – senza che sia possibile allo spettatore capire quale dei personaggi sia “sano”, e quale versione dei fatti sia quella deformata. Ogni scena è perfettamente credibile, come se fossero tutte vere contemporaneamente. La suspense sostenuta in questo modo bilancia il ritmo lento della pellicola.

La terza parte inizia con un tentativo esplicito di avere il controllo sulla natura umana: Emily (Emma Stone) fa parte di una setta, i cui membri sono alla ricerca di una persona che si narra sia in grado di resuscitare i morti. Esclusa poi dal gruppo per essersi contaminata, ovvero aver avuto rapporti sessuali con una persona esterna, fa di tutto per trovare il loro obiettivo e portargliela, come fosse una preda, sperando di meritare così il perdono. Attraverso la vita di questa comunità, i loro gesti e le regole che seguono, Lanthimos mette in scena un vero e proprio branco di animali, più che una società umana.

Cani

La pellicola è infatti una collezione di tutti i modi in cui l’essere umano è portato alla vita del branco, poiché ha bisogno di riconoscersi e riconoscere i propri simili dentro a dinamiche di potere ben definite, scambi di favori, contatto fisico. Il controllo dei corpi è uno dei mezzi principali attraverso cui si realizzano tutti i tentativi di sopravvivenza dei personaggi, mentre i dialoghi sono relegati alla funzione di semplici scambi di informazioni, le emozioni espresse sono sempre basilari: rabbia, paura, bisogni. Kinds of kindness, tipi di gentilezza sono tutte le deformazioni istintive dell’amore che ci rendono simili a bestie più di quanto ci piace immaginarci. Le inquadrature fisse dentro le quali i personaggi si muovono come girando in tondo in una gabbia aumentano il senso di disumanizzazione.

Purtroppo come anticipato l’esecuzione è ai limiti del didascalico, Lanthimos si autocita una volta di troppo e neanche l’uso dei colori e del suono colpiscono particolarmente. D’altra parte la qualità delle interpretazioni, le atmosfere surreali e i momenti di sottile dark comedy risollevano notevolmente la pellicola.

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Federica Rossi,
Redattrice.

June 8, 2024
Recensione Furiosa – A Mad Max Saga: L’ascesa dell’imperatrice

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È tempo di tornare nelle Terre Desolate, George Miller ci porta a conoscere tutta la storia dell’Imperatrice Furiosa. Prequel/spin-off dell’acclamato Mad Max: Fury Road (uscito ormai quasi dieci anni fa), Furiosa – A Mad Max Saga è senza dubbio uno dei film più attesi e più chiacchierati dell’anno. Avrà retto le aspettative e il confronto con il precedente capolavoro? Raccogliete tutta l’acqua che potete e fatevi coraggio, nelle Wastelands ne avrete bisogno!

Furiosa, “il quinto Cavaliere dell’Apocalisse”

Nel bel mezzo dei deserti di una Australia post-apocalittica, sorge un piccolo paradiso in cui l’acqua non manca, gli alberi danno frutti succosi e l’erba cresce fresca: è qui, nel Luogo Verde, che vive la piccola Furiosa (Alyla Browne), in un paradiso da tenere segreto a ogni costo. Nel tentativo di allontanare alcuni motociclisti minacciosamente vicini, Furiosa viene rapita e fatta prigioniera dal Signore della Guerra Dementus (Chris Hemsworth); a nulla servirà il tentativo della madre di salvarla e riportarla a casa, anzi la donna verrà catturata e uccisa davanti agli occhi della figlia. Ormai proprietà del folle Dementus, Furiosa segue la sua orda di “migliaia bastardi fuori di testa” fino alla Cittadella, uno degli avamposti delle Terre Desolate. Il leader del luogo, Immortan Joe (Lachy Hulme), vuole la giovane ragazza per sé: quando crescerà sarà una delle sue numerose mogli; ma Furiosa non ha intenzione di piegarsi, si taglia tutti i capelli e si traveste da ragazzo per lavorare come meccanico alla costruzione della Blindocisterna, un enorme veicolo per il trasporto di merci. Divenuta una giovane donna con un coraggio e una freddezza fuori dal comune, Furiosa (Anya Taylor-Joy) continua a covare un profondo odio nei confronti di Dementus, forse più profondo del suo desiderio di tornare a casa. Presto i loro cammini si incroceranno di nuovo, e come in ogni perfetto rapporto eroe-antagonista, scopriranno di avere tanto che li unisce e li rende simili, così come tanto altro che li rende profondamente diversi.

Più attenzione alla scrittura

Anche grazie all’interpretazione di Charlize Theron in Mad Max: Fury Road, il personaggio di Furiosa ha conquistato pubblico e critica, era dunque inevitabile che un film sulla sua storia creasse un certo livello di aspettativa. George Miller si prende il tempo necessario per farci conoscere Furiosa prima di diventare Imperatrice: si potrebbe dire che schiaccia meno il piede sull’acceleratore rispetto al precedente capitolo della saga. Anya Taylor-Joy è un’interprete fantastica per la nostra protagonista, si trova perfettamente a suo agio nel personaggio e non ha difficoltà a esprimere il suo profondo dolore che spesso si traduce in una rabbia travolgente e impossibile da fermare. Si vede l’enorme lavoro dell’attrice nel riprendere il più possibile l’immagine di Furiosa diventata iconica grazie a Charlize Theron: in alcune delle scene più di impatto del film, il linguaggio del corpo e la recitazione di Anya Taylor-Joy ricordano e omaggiano la Theron in modo impeccabile. Una piacevole sorpresa Chris Hemsworth, che nei panni di Dementus dà il meglio di sé: prova che i personaggi sopra le righe sono il suo forte, se accompagnati da una buona scrittura che non li rende eccessivi. Dementus è senza scrupoli, ma anche un codardo, così pieno di sé da risultare quasi comico; ciò non impedisce allo spettatore di detestarlo, ma rimane anche affascinato dalla biga trainata da tre motociclette che usa come mezzo di trasporto.

Come già accennato, in Furiosa Miller decide di premere un po’ di più sul freno e concentrarsi maggiormente sulla scrittura dei personaggi, sicuramente per approfondire la protagonista ma anche per gettare uno sguardo nuovo su alcune figure che già avevamo conosciuto. Ma state tranquilli, di scene d’azione spettacolari ne abbiamo in abbondanza!

Due ore e mezzo?

Se andrete al cinema aspettandovi un bel po’ di scontri e inseguimenti nelle Terre Desolate, allora non rimarrete delusi: le scene d’azione, lunghe, dettagliate e girate meravigliosamente, vi terranno incollati alla poltroncina e giunti alla fine, forse, non vi sarete neanche accorti dei quasi 150 minuti di durata.

Furiosa si rivolge necessariamente al passato, ma alla fine dei conti rivela uno sguardo al futuro e una modernità non indifferente. La regia dinamica di Miller ci regala delle scene d’azione spettacolari e mai noiose, trascinando il film fino ai suoi limiti ma senza mai farglieli superare. Merito anche e sicuramente di molti dei membri della crew di Fury Road che sono tornati a collaborare con il regista, come la montatrice Margaret Sixel e lo scenografo Colin Gibson. Certo, il confronto con il capitolo precedente della saga è inevitabile e non sempre impeccabile, ma a Furiosa non serve essere perfetto per riuscire nel suo intento: intrattenere, farci scoprire una storia mai raccontata prima, e magari tenere alta l’attenzione per il prossimo Mad Max: The Wasteland, sequel diretto di Fury Road.

La visione di Furiosa è un’esperienza adrenalinica che vi travolgerà e vi terrà col fiato sospeso fino alla fine, il nostro consiglio più grande è sicuramente di andare a vederlo in sala. Dalla poltroncina vi troverete in un attimo a percorrere le Terre Desolate, e allora sì che vi servirà una bella dose di coraggio!

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Renata Capanna,
Redattrice.

May 26, 2024
Recensione Abigail – Quanto basta il divertimento?

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Matt Bettinelli-Olpin e Tyler Gillett, anche noti come i Radio Silence, probabilmente li avete conosciuti con il requel Scream uscito nel 2022 ed il seguito con cui hanno rilanciato la saga creata da Wes Craven convincendo sia critica che pubblico. Il loro nuovo film intitolato Abigail, uscito in Italia con un mese di ritardo rispetto agli States, risulta però ben più vicino alla loro pellicola d’esordio del 2019 Ready Or Not (arrivata da noi come Finché morte non ci separi) in cui una Samara Weaving novella sposa affrontava una prima notte di nozze a dir poco violenta e sanguinosa. Una gigantesca magione con porte e finestre sigillate, protagonisti ignari del pericolo e disarmati costretti a superare la notte, un pericoloso nemico il quale unico scopo è quello di uccidere i protagonisti: tutti elementi che erano già presenti nella pellicola del 2019 e che ritroviamo ora in sala, ma sarebbe riduttivo definire Abigail come una mera riproposizione della stessa pellicola soltanto con più esperienza ed un budget più sostanzioso (28 milioni contro i 6 della precedente). Giusto?

Una narrativa (non) silenziosa

A poco serve girare attorno alla natura vampiresca del villain della pellicola, soprattutto a seguito di una campagna marketing che ben poco nascondeva quest’elemento, ponendolo anzi come principale attrattiva. Consci certamente di come ciò avrebbe indubbiamente attirato pubblico in sala, la scelta risulta poco chiara soprattutto a fronte di una narrazione che cerca di nascondere il tutto per l’intero primo atto.

Ad aprire il tutto è infatti il rapimento della giovane ballerina di danza classica Abigail da parte di un bizzarro team di criminali che, dopo aver ricevuto il compito di sorvegliarla per ventiquattro ore in attesa del riscatto, si ritrovano presto vittima di un carnefice decisamente sanguigno. Presentato il cast di personaggi, tutti incasellati senza troppi margini di espansione in ruoli ben precisi (l’ex poliziotto burbero, la giovane hacker, l’autista amante delle droghe, il “grande gigante gentile”, il militare, la ladra dal cuore tenero) che tutto sommato riescono ad incontrare, chi più chi meno, fin da subito l’interesse dello spettatore, risulta chiaro come gli sceneggiatori Guy Busick (ormai storico collaboratore del duo) e Stephen Shields abbiano cercato di infarcire la storia di informazioni che andassero ad inspessire la lore dei personaggi, finendo però per relegare ad alcune sequenze dei meri monologhi o scambi di battute sul passato dei personaggi che portano inevitabilmente ad uno stordimento per lo spettatore, non avendoli mai visti prima; opposta invece l’esposizione sul passato della vampira antagonista, che avviene banalmente con alcuni vecchi quadri o statue posizionati in diverse stanze della magione dove sarebbe risultato apprezzabile un arricchimento anche per donare ulteriore carattere al villain. Dopotutto, non amiamo così tanto Leatherface specialmente dopo la sequenza con tutta la famiglia riunita a tavola?

“I need blood!”

Lasciato da parte l’elemento di certo più debole del prodotto, bisogna comunque affermare come il tutto riesca a sollevarsi – e non poco – soprattutto grazie al lavoro dei due registi. Affiancati da Aaron Morton – già direttore della fotografia per pellicole horror come il soft-reboot del 2013 Evil Dead e del recente Omen – L’origine del presagio – riescono infatti a riempire i 109 minuti di durata con sequenze che mescolano sapientemente tutto ciò che rende un momento davvero inquietante con elementi puramente comici, creando quello che da diversi anni nell’ambiente è conosciuto con il termine di “fun horror” che si pone come obiettivo primario quello di intrattenere inserendo però elementi appartenenti al genere horror (soprattutto sulla quantità di violenza e sangue a schermo). È quindi così che la vampira Abigail insegue i protagonisti eseguendo passi di danza, sbeffeggiandoli e deridendoli – prendendo in questo una chiara ispirazione dalla saga de La Casa – mentre questi ultimi scappano urlando imprecazione armati di bastoni intagliati, retine di aglio e crocifissi, accompagnando il tutto con un design del mostro davvero ispirato che sfrutta in primis la grande flessibilità della giovane Alisha Weir a cui accorrono in aiuto un comparto make-up e costumi davvero di alto livello.

Se, come anticipato sopra, i personaggi faticano ad elevarsi oltre le mere silhouette dei cliché cinematografici a livello di scrittura, sono le interpretazioni del cast a donare vero e proprio carisma. Su tutti spiccano ovviamente Melissa Barrera, ormai feticcio dei Radio Silence sempre più a suo agio in ruoli che la ricoprono di sangue dalla testa ai piedi, e un Dan Stevens – attualmente onnipresente in sala tra questa pellicola, Godzilla X Kong e Cuckoo – particolarmente in parte e capace di gestire ottimamente il cambio sul finale, ma lo stesso si può dire anche di Kevin Durand – a sua volta attualmente al cinema anche con Il regno del pianeta delle scimmie -, fantastico gigante tutto muscoli e poco cervello, una Kathryn Newton qui dannatamente e perfettamente scream queen ed Angus Cloud, qui alla sua ultima apparizione breve ma decisamente intensa. Apprezzabili anche i brevi ruoli di Giancarlo Esposito e Matthew Goode, mentre a brillare poco è infine l’interpretazione di William Catlett, unico dei protagonisti con cui risulta effettivamente difficile entrare in empatia.

Piccolo kudos finale alla colonna sonora curata da Brian Tyler, capace di spaziare sapientemente da componimenti di musica classica (anche riarrangiati per alcune occasioni) a sonorità invece più moderne e pop, risultando in un match perfetto con l’atmosfera che la pellicola vuole trasmettere.

Conclusioni

Quello che la coppia Gillet/Bettinelli-Olpin porta in sala è una pellicola che mostra soprattutto il fianco a causa di una sceneggiatura zoppicante, che cerca di approfondire senza ammorbare finendo però per non riuscire davvero bene in nessuno dei suoi intenti. Una pellicola che si può dire salvata da un’ottima messa in scena, che intrattiene e diverte senza dimenticare i momenti più inquietanti ma soprattutto il sangue, aiutata da un’ottima colonna sonora, make-up e costumi eccezionali ed un cast decisamente in parte, capace di donare vita a personaggi altrimenti facilmente dimenticabili.

Viene però spontaneo chiedersi: per il genere horror il futuro è quindi questo? Un fun horror, capace soprattutto di divertire prima che di spaventare, in cui allo spettatore si chiede soltanto di spegnere il cervello e di godersi corpi sbudellati, battute e violenza senza limiti? Un horror da pigiama party con gli amici, ma è davvero solo questo che, ad oggi, l’horror può offrire?

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hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" margin_top="-12" margin_right="" margin_bottom="" margin_left="" fusion_font_family_text_font="" fusion_font_variant_text_font="" font_size="" line_height="" letter_spacing="" text_transform="" text_color="" animation_type="" animation_direction="left" animation_color="" animation_speed="0.3" animation_delay="0" animation_offset="" logics=""]

Mattia Bianconi,
Redattore.

May 18, 2024