FRAMES CINEMA

Category: Recensioni

  • Recensione Invelle – La meraviglia che resiste

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    Il primo lungometraggio dopo una carriera trentennale di cortometraggi dell’animatore marchigiano Simone Massi è un meraviglioso esempio di artigianalità.

    Abbiamo avuto l’occasione di vedere durante il Bellaria Film Festival, nella sezione Gabbiano Speciale, il primo lungometraggio dell’animatore marchigiano Simone Massi, alla presenza del regista e del produttore Salvatore Pecoraro (Minimun Fax Media). Il film era stato presentato nella sezione Orizzonti dell’80esima Mostra Internazionale d’Arte Cinematografica di Venezia e costituisce l’esordio nel formato lungometraggio di uno dei principali interpreti dell’animazione autoriale in Italia, con più di trenta cortometraggi in altrettanti anni di carriera, più vari contributi al mondo del teatro e dell’illustrazione, che hanno raccolto più di 900 premi in tutto il mondo tra cui anche un David di Donatello al Miglior Cortometraggio nel 2012 per Dell’ammazzare il maiale.

    Nel 1918 Zelinda è una bambina contadina con la madre in cielo e il padre in guerra. Le tocca smettere l’infanzia e indossare la casa, i fratelli, la stalla e le bestie. Un giorno Zelinda torna ad avere una madre e un padre. Alla fiera del paese la bambina si stringe al babbo e spalanca gli occhi per far posto a tutte le cose che le si parano davanti. Vere o immaginate che fossero, Zelinda quelle cose ormai le ha viste e si è fatta una sua idea di come gira il mondo. Gira così velocemente che di colpo la sua storia diventa quella di un’altra. Nel 1943 Assunta è una bambina contadina che sta in equilibrio su una gamba, con la testa guarda il cielo e tiene il piede in guerra (un’altra!). Ma appena ne ha modo, Assunta si cuce un vestito colorato, fa un saltello e hop! la guerra era tutto uno scherzo, o comunque adesso non c’è più. La guerra (forse!) non c’è più e con essa scompare un mondo intero: un salto più grande di quel che sembrava. Nel 1978 Icaro è un bambino contadino che gira in tondo attorno al niente. È stato sognato tanti anni prima e deve fare e farà quello che non è stato possibile per sua madre e sua nonna. E per chi è venuto prima di loro. E prima ancora. E prima ancora.

    Un secolo di vita di una famiglia in un paesino minuscolo nella campagna marchigiana. Pergola è un paesino collinare nella provincia pesarese ma il dialetto parlato in quelle zone è più simile alla parlata umbra. I prati in cui si muovono i nostri protagonisti nelle varie epoche non sono luoghi predestinati, scelti dalla storia come palcoscenico. Sono luoghi che gli eventi o li subiscono come le guerre e la Resistenza, o li guardano da lontano come gli anni di piombo. La vita scorre lentissima e i cambiamenti nell’arco di sessant’anni non sono così tanti. Invelle significa da nessuna parte. Pergola potrebbe essere sostituita da un qualsiasi paesino della zona, dell’Italia Centrale, forse del mondo intero. Il tratto graffiato scelto per il film come per la maggior parte dei lavori di Massi rende il tutto ancora più etereo e astratto. Quei pochi tratti di rosso, come il fazzoletto di Zelinda, rompono un mondo di bianchi e grigi scuri eterno come se fosse un piccolo fulmine di coraggio e propensione al nuovo, simbolo anche di un’ingenuità infantile che ha visto troppo poco del mondo per sapere anche solo cosa può permettersi di sognare. In un battito degli occhi quella bambina è diventata anziana, e ancora non ha capito come si fa a sognare.

    Icaro, l’ultimo dei bambini protagonisti, è probabilmente l’avatar stesso di Massi, anche solo per ragioni anagrafiche. Il suo essere sognante si confronta con il mondo esterno, non più quello della guerra, della fame, della resistenza e dei fascisti sempre presenti, ma un mondo più semplice, fatto di scuola, compagni meschini e di una città che respinge i campagnoli. Forse gli occhi di Icaro sono gli stessi che hanno permesso a Simone Massi di creare un suo stile in cui l’animazione non è fatta di corpi, paesaggi e azioni, ma di bozze, linee, zoom, panoramiche all’indietro e trasformazioni di oggetti, portando all’estremo il mezzo e rendendo a volte macchina da presa la matita o il foglio stesso.

    È sbagliato parlare di autore emergente in un caso come questo. Simone Massi ha una carriera solidissima alle spalle riconosciuta da chi ha permesso anche l’esistenza e la distribuzione di questo film che vanta anche un cast vocale piuttosto riconoscibile (tra gli altri Filippo Timi, Luigi Lo Cascio, Neri Marcorè, Ascanio Celestini, Toni Servillo, Giovanna Marini in una delle sue ultime interpretazioni più vari familiari del regista). Forse è il caso di non lasciar cadere nel vuoto dell’indifferenza l’opera di un autore unico, sostenendolo al momento dell’uscita in sala in autunno, e aspettando nuove storie italianissime ed universali.

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    Nicolò Cretaro,
    Redattore.

  • Recensione On The Go – Avere un figlio è l’azione più inquinante dell’essere umano

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    Alla 42a edizione del Bellaria Film Festival è stato presentato in anteprima nazionale On the Go, il primo lungometraggio diretto dalla giovane coppia spagnola María Gisèle Royo e Julia de Castro che aveva esordito alla 76a edizione del Locarno Film Festival nel Concorso Cineasti del presente. Remake di Corridas de alegría (film del 1982 diretto da Gonzalo García Pelayo di cui mantiene anche la scelta della pellicola 16mm e il formato Academy ratio, quello leggermente più largo del 4:3), On the Go è un film on the road eccentrico e senza freni, che forse affascina proprio nella (e grazie alla) sua sperimentazione imperfetta e bislacca, attraversato da un erotismo avvolgente e libero.

    Girato senz’alcun second take per via del basso budget, la trama narra del viaggio in macchina lungo la Spagna di Milagros (la stessa regista Julia de Castro) e Jonathan (Omar Ayuso, l’Omar Shanaa della serie Netflix Elite). La prima, 37 anni, comincia a interrogarsi sulla maternità una volta raggiunta la soglia della fine della fertilità, mentre Jonathan, 24 anni, al contrario cerca di sfogare la sua sindrome dell’abbandono su Grindr. Durante il tragitto attraverso il mare, il deserto, un bar di un villaggio e addirittura a un santuario, si aggiungerà una ragazza chiamata Reina, sirena alter-ego di Milagros a cui porrà continui interrogativi sul senso della maternità.

    Milagros e Jonathan portano la sirena in mare

    “Sapevi che avere un figlio è l’azione più inquinante dell’essere umano?” Questa è la domanda che si sente porre Milagros da un’artista incontrato sul percorso. Domanda non facile a cui rispondere, soprattutto se il pensiero fisso della ragazza spagnola è ottenere una gravidanza dallo sperma rubato da un condom usato in un’orgia. E paradossalmente è questo il cuore di On the Go, dove le riflessioni emergono dallo scontro dicotomico tra due ideali che sono condizioni di vita e scelte per il futuro, dove il desiderio ardente di maternità è sempre contrapposto a quello di libertà sessuale proprio della giovinezza. Contrasto che nasce anche dal languore dei paesaggi spagnoli contrapposto all’energia incontenibile dei personaggi campy da cui emerge, a sua volta, uno strato di realismo magico che si riconosce già dai nomi dei protagonisti, Milagros-miracolo e Reina-regina, personaggi prototipo mai ridotti ai loro stereotipi ma capaci di coglierti di sorpresa proprio come il film, che ci scuote da uno scenario all’altro con transizioni scandite dal bruciare della pellicola.

    Personaggi stravaganti e trasudanti di vitalità e tenerezza, riflesse nel comparto musicale che accompagna il loro on the road per la Spagna, vale a dire un flamenco rivisitato che sintetizza le loro identità, sempre in movimento, come stessero ballando. Non c’è la pretesa che tutto sia chiaro, che ogni cosa fili liscio, e per questo l’umorismo calcato e surreale consente al film di essere permeato da una vena autoironica, ma senza eccessiva autoindulgenza.

    Uno dei sipari surreali che irromperanno durante il film

    Il voice over a un certo punto chiede a Milagros, e di riflesso a noi, “Darai la vita o chiederai ai tuoi figli di darla a te?”: così l’urlo assordante della sirena diventa quello di una generazione che deve fare i conti con l’impossibilità strutturali imposte dalla società, e che in un momento cardine della sua vita è costretta a chiedersi perché essere madri? Perché essere padri? Cosa preferire, avere qualcuno a fianco fra trent’anni o vivere da soli godendosi il presente? Dare la vita per i propri figli o chiedere ai figli di sacrificarsi per noi? Il film non risponderà mai alle domande ma nel suo microcosmo provocatorio fatto di maschere folli e caricatissime troviamo esplorazioni sull’intimità e sulla maternità libere e spontanee, dove l’ossessione non prende mai il sopravvento e l’umanità è sempre in primo piano. Un discorso generazionale fuori dagli schemi e a tratti ingenuo, ma che nelle sue follie, anziché stordire, affascina e seduce.

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    Alberto Faggiotto,
    Redattore.

  • Recensione Animal – Yes Sir, I Can Boogie All Night Long

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    Alla 42ª edizione del Bellaria Film Festival arriva Animal, secondo lungometraggio della regista greca Sofia Exarchou. Il film è stato presentato in concorso al Locarno Film Festival nel 2023, dove la protagonista Dimitra Vlagopoulou ha ottenuto il premio per la miglior interpretazione. 

    Animal mostra la vita dei lavoratori stagionali nelle località turistiche, una realtà poco rappresentata e dai retroscena cupi. Il film si apre mostrandoci una compagnia di animatori di un hotel all-inclusive, e, fin dalle prime scene, la regista crea un forte contrasto tra il comportamento vivace e coinvolgente dei lavoratori nei confronti degli ospiti, e la messa in scena che imprime un’atmosfera malinconica.

    Tra palazzi grigi, parchi fatiscenti e stanze dai muri anneriti, i luoghi frequentati dai membri della comitiva alla fine del turno, evocano, ancor prima di qualsiasi dialogo o espressione dei personaggi, un forte senso di decadenza. Questa sensazione diventa ancora più intensa durante le esibizioni degli animatori: nonostante l’energia dei corpi in movimento durante i balli e le voci coinvolgenti nei giochi di gruppo, la fotografia desaturata toglie vitalità ai personaggi, determinando innanzitutto visivamente il tono del film.

    Particolarmente interessante è la struttura narrativa del film, che sfrutta la coralità iniziale per presentare i personaggi e farci immergere nel contesto lavorativo, così da comprendere appieno le dinamiche che caratterizzano l’ambiente. La regista mette in scena una situazione particolare, caratterizzata da intense ore di lavoro diurne, mentre di notte gli animatori organizzano le giornate successive e preparano gli spettacoli. La componente umana, il piacere della compagnia è un elemento cruciale nel film, una cosa su cui non si ha nessun dubbio è proprio l’importanza di essere uniti ed affiatati, difatti, anche con l’arrivo di nuovi colleghi il clima rimane amichevole e accogliente. Il gruppo è come una famiglia, istituita non su legami di parentela ma sulle esperienze comuni, la fiducia e la conoscenza. 

    La struttura narrativa si sposta progressivamente dal gruppo a tre personaggi in particolare. Kalia, centro nevralgico del film, ballerina, e veterana del gruppo che da 19 anni lavora nel resort. Eva, una ragazza polacca alla sua prima esperienza in questo ambiente che viene affiancata a Kalia. E  una bambina, che più che un personaggi vero e proprio costituisce una presenza onnipresente all’interno del gruppo, che guarda entusiasta la comitiva costantemente all’opera.   

    Non sogno. Vuoto totale.

    Complessivamente, però, il film gravita attorno a Kalia, al punto da poter considerare gli altri due personaggi come delle proiezioni della sua personalità in diverse fasi della sua vita, in una dinamica che consente di interpretare una storia personale per rappresentare una dinamica comune a diverse persone.

    L’interesse di Exarchou è radicato nell’esperienza lavorativa stessa, e nella contraddizione intrinseca del lavoro di animatore. Utilizzando le microespressioni, i movimenti e le posture del corpo della protagonista, la regista cattura con grande intensità le difficoltà che nascono dall’opposizione tra ciò che è richiesto da questo lavoro e le reali possibilità di eseguirlo. Addentrandosi sempre di più in questo sistema basato sul concetto del “the show must go on” ad ogni costo, il film evidenzia il senso di oppressione e disagio dei personaggi. Il ritratto che ne emerge è spietato ma realistico, privo di escamotage per generare un coinvolgimento emotivo immediato e superficiale, ma piuttosto procedendo inesorabilmente di pari passo con Kalia nella scoperta di una realtà che si tende ad ignorare.

    La collaborazione tra la regista e la protagonista funziona in modo impeccabile, dando vita a un personaggio complesso che si muove tra le proprie pulsioni personali e l’aderenza a un sistema oppressivo che porta all’apatia e all’esecuzione meccanica del proprio lavoro. Le numerose sequenze in cui Kalia balla o canta assumono un significato diverso a seconda della fase di svolgimento, esaltando ulteriormente le capacità della regista nel riuscire a comunicare efficacemente le proprie idee attraverso il corpo della protagonista.

    Il comparto tecnico svolge un lavoro eccellente nell’importanza dell’ambiguità nell’interpretazione delle reali sensazioni dei personaggi, che è pari all’indeterminatezza del clima dell’isola, rappresentato in modo decisamente distante rispetto alla comune immagine delle isole greche nel pieno dell’estate. Le maschere indossate dai personaggi diventano sempre più evidenti e ingombranti, e di conseguenza l’illusione svanisce, soprattutto per Kalia. Il suo legame con Eva e la bambina le fa rivivere il proprio percorso, portandola a una struggente presa di coscienza che la spinge a desiderare un’esistenza diversa.

    Il film ricalca quindi le orme del cinema interessato ai valori sociali e alla rappresentazione di categorie lavorative sotto-rappresentate, mostrandone le criticità e le contraddizioni, ma lo fa con personalità, dando spazio alla componente umana rappresentata dall’intera comitiva del gruppo, ben caratterizzata e credibile nella scelta degli attori. Ribadiamo quanto l’interpretazione di Dimitra Vlagopoulou sia convincente, sia per l’intensità che riesce a conferire al suo personaggio, sia per la capacità dimostrata nelle sequenze in cui canta e balla, trasmettendo attraverso le varie performance la complessità di Kalia. 

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    Riccardo Fincato,
    Redattore.

  • Recensione Io e il secco – Un debutto grazioso e dolce amaro

    Denni (Francesco Lombardo al suo debutto) è un bambino la cui madre (Barbara Ronchi) è vittima della violenza fisica del padre (Andrea Sartoretti). Per porre fine alla cosa, Denni decide di “assoldare” un delinquentello da nulla, il “Secco” (Andrea Lattanzi), perché uccida il genitore.

    “Io e il secco” è già stato presentato alla Festa del Cinema di Roma nella sezione Alice nella Città e proiettato durante il concorso Visioni Italiane 2023 a Bologna. Al Bellaria Film Festival apre la sezione “Casa Rossa”, dedicata alle prime e seconde opere cinematografiche di autori italiani emergenti. Trattasi del lungometraggio di debutto di Gianluca Santoni, ispirato al suo corto realizzato per il diploma al Centro Sperimentale di Roma, “Gionatan con la G”. La sceneggiatura, realizzata in collaborazione con Michela Straniero, ha vinto nel 2017 la menzione speciale del Premio Solinas.

    La forza del film risiede, in effetti, più che nella regia di Santoni nella sua scrittura. Questa tratteggia con chiarezza e senza didascalismo dei personaggi e delle situazioni vivide, elementi che in altre mani sarebbero potuti facilmente cadere nello stereotipo. Giocoforza in questo caso è dato anche dagli attori e dalla chimica che si viene a formare tra loro. 

    Particolarmente importante per la riuscita del film è il rapporto tra Denni e il Secco, il quale fornisce tanto la componente comica della storia quanto il suo cuore emotivo. Era allora fondamentale trovare la giusta accoppiata, e in questo caso possiamo dire che la missione è riuscita. Il piccolo Francesco Lombardo, scelto tra migliaia di altri attori bambini, si avvicina al ruolo di Denni con una naturalezza e delicatezza disarmanti. Andrea Lattanzi dà vita col Secco ad un criminale assolutamente poco credibile, sin dall’inizio caratterizzato come un cuore d’oro che cerca di mascherare la propria fragilità e il crescente affetto verso il protagonista.

    Il tema della violenza di genere, tristemente molto caldo, come rivelato dallo stesso Santoni è accompagnato ad un altro importante elemento, ovvero quello della riflessione attorno all’educazione maschile. Denni è un personaggio nel mezzo di un momento formativo fondamentale, ed è diviso tra la rappresentazione di mascolinità violenta fornita del padre che, senza volerlo e pur disprezzandolo, si trova a reiterare nella sua immaginazione, e l’esempio materno. Non per niente, il personaggio della madre e, successivamente, quello di Denni, sono legati così strettamente alla canzone “Sere nere” di Tiziano Ferro, ad un modello di mascolinità completamente diverso da quello ‘tradizionale’ fornito dal padre violento e dal fratello di Secco. Personaggio, questo, che non solo rimanda a livello fisico ad un immaginario di violenza e di forza fisica, ma che  denigra il fratello mettendone in dubbio la virilità. Il percorso personale dei due protagonisti è, in entrambi i casi, quello di scoperta di un modello di mascolinità più attenta e più affettuosa, un processo che come nei migliori buddy movie avviene attraverso il rapporto che si viene a sviluppare tra loro. 

    A fronte di alcuni scivoloni nella trama vera e propria e di alcune scene d’azione meno riuscite, Io e il secco resta un interessante punto di vista da assumere sul tema della violenza di genere, con al centro una riuscita (doppia) interpretazione attoriale che permette al copione di brillare. Il risultato finale fa ridere e commuovere senza essere stucchevole o retorico.

    Io e il secco uscirà nelle sale italiane il 23 maggio.

    Silvia Strambi,
    Redattrice.

  • Recensione Troppo Azzurro – Il debutto di Filippo Barbagallo

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    Tuffarsi negli abissi del mare o restare immutati e terrorizzati dalle conseguenze delle proprie azioni? Il protagonista di Troppo Azzurro oscilla costantemente tra queste due possibilità.

    Il film d’esordio di Filippo Barbagallo (da lui scritto, diretto e interpretato) è lo specchio di una generazione che si nasconde sotto una coperta, consumata dai troppi pensieri e dalla nostalgia.

    Dario è uno studente di architettura che vive ancora con i genitori (Valerio Mastandrea e Valeria Milillo), frequenta i pochi amici di sempre ed è innamorato di Lara (Martina Gatti), che ammira da lontano tra sguardi e sorrisi goffi. Rimasto da solo in estate nella casa di famiglia, si ritroverà a intraprendere relazioni inaspettate e ad acquisire nuove consapevolezze. 

    Un’atmosfera retrò invade ogni sequenza (gli abiti di scena, la Panda, i videogames) come se il presente fosse continuamente influenzato dal ricordo di un passato mai vissuto effettivamente dai giovanissimi personaggi. Le musiche dei Pop X si inseriscono perfettamente in questo scenario e riflettono l’intento del regista, camuffando con melodie allegre dei testi intimi e descrittivi. 

    Il giovane autore ci presenta una storia agrodolce (non a caso il supervisore artistico è Gianni Di Gregorio) in una Roma estiva nella quale, come il cinema stesso ci insegna, può succedere tutto o niente. Dario sembra desideroso di accogliere le infinite opportunità che gli si presentano, ma quando avverte l’inizio di un cambiamento si rintana nelle sue abitudini, paralizzato dalla paura. L’immobilità vince contro ogni altra scelta, fermarsi non comporta effetti indesiderati, ma solo rassicurazioni. Perfino le antiche rovine di cui il protagonista scrive nella tesi di laurea si fanno metafora della sua interiorità: vengono definite rassicuranti e al contempo conturbanti e restano invariate e inerti in attesa di un futuro che non arriverà mai. 

    Dario, come il Nanni Moretti di Caro diario, sembra essere felice solo nel tragitto da un posto all’altro, pronto a rifugiarsi nell’esatto momento che precede l’azione.  

    Barbagallo ci suggerisce, citando Nabokov, che “l’unica felicità a questo mondo sta nell’osservare” ed è evidente che la sua opera prima sia frutto di un’accurata osservazione di se stesso e degli altri, volta a sdrammatizzare ansie e turbamenti, senza mai incappare nella superficialità. 

    Il film racconta con una malinconica ironia un periodo di transizione in cui il timore di diventare adulti si accorda con il desiderio di abbandonarsi all’azzurro più profondo. 

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    Maria Cagnazzo,
    Redattrice.

  • Recensione Il regno del pianeta delle scimmie – Un giorno magnifico

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    Cinque film, due serie tv, un remake ed una trilogia reboot: ad oggi il franchise de Il pianeta delle scimmie può essere facilmente definibile come il più longevo – senza contare il romanzo di Pierre Boulle da cui è stata presa ispirazione datato 1963 – con il primo capitolo che risale all’ormai lontano 1968, quasi sessant’anni fa. Divenuto fin da subito icona del cinema di fantascienza – anche chi non ha mai visto la pellicola oggi conosce la famosa sequenza della cavalcata sulla spiaggia con graduale scoperta della ormai distrutta statua della libertà – non si può di certo dire lo stesso dei sequel, contenitori di idee interessanti che non riuscirono però a bilanciare bene i propri intenti. Se lo stesso si può dire anche del bizzarro remake firmato Tim Burton del 2001, la trilogia partita nel 2011 con Rise Of The Planet Of The Apes diretto da Rupert Wyatt ed i due seguiti Dawn Of The Planet Of The Apes e War For The Planet Of The Apes con Matt Reeves alla regia riprese sapientemente numerosi elementi dei capitoli originali riscrivendoli ed adattandoli nella creazione di pellicole capaci di unire magistralmente tematiche profonde e varie con il grande respiro dei migliori blockbuster (nella puntata dedicata del podcast Strade Perdute potete trovare un corposo approfondimento proprio su questa trilogia).

    Dopo la fantastica chiusura sul finale di War, risultarono inevitabili all’annuncio di un nuovo capitolo i numerosi dubbi e la paura di uno snaturamento di quanto di buono fatto finora, sentimenti amplificati ulteriormente dalla notizia della mancanza di Matt Reeves al timone. Affidata la sceneggiatura a Josh Friedman e la regia a Wes Ball, a sette anni di distanza dall’ultimo capitolo la saga torna quindi sul grande schermo con Il regno del pianeta delle scimmie: saranno riusciti a mantenere alta l’asticella e a convincere nuovamente critica ma soprattutto i fan?

    The king is dead, long live the king!

    Diverse generazioni dopo la morte di Cesare, la pellicola ci introduce fin da subito il nuovo protagonista: Noa, giovane scimpanzé del Clan delle Aquile, è intento, assieme agli amici Anaya e Soona nella ricerca di uova d’aquila per poter attendere alla cerimonia di passaggio del giorno seguente, divenendo così un membro effettivo del clan. A causa della presenza di un Eco, nuovo nominativo utilizzato per indicare i nuovi (sub)umani, il suo villaggio diviene vittima dell’attacco di un misterioso plotone di scimmie mascherate ed armate di lance elettriche, che uccide il capovillaggio e rapisce tutti gli altri membri del clan. Scampato per miracolo alla morte, Noa parte quindi alla ricerca del proprio clan all’inseguimento di quei misteriosi guerrieri di cui conosce soltanto il motto: “Per Cesare”.

    Risulta fin dalla prima scena – lo splendido funerale notturno di Cesare – difficile associare la pellicola al tanto utilizzato in fase promozionale termine soft-reboot, in quanto, nonostante la decisione di spostare avanti gli eventi narrati di almeno trecento anni comporti l’inevitabile assenza di tutti i personaggi conosciuti in precedenza, il film si presenta in realtà come un vero e proprio sequel ricco di rimandi tutt’altro che velati agli eventi dei film precedenti. Se il protagonista ignora effettivamente l’epopea di Cesare per volontà degli anziani del villaggio di vivere in “isolamento” nella valle, lo stesso non si può certo dire del resto dei personaggi che il protagonista incontra lungo il cammino: a partire dal benevolo orangotango Raka, ultimo sopravvissuto di un ordine che si occupa di salvare i vecchi testi degli umani e di tramandare i veri insegnamenti di Cesare, travisati invece per i propri scopi dal tiranno Proximus Caesar –dal latino letteralmente “Prossimo Cesare” – che sfrutta l’iconografia dell’originale leader per tenere in scacco il suo regno.

    Interessante ruolo è invece riservato all’umana Nova, portatrice di un importante segreto e che si unirà a Noa nel suo viaggio per portare a termine il suo compito. Agendo quasi da parallelismo con la Nova vista in War – entrambe dai lunghi capelli biondi e i vitrei occhi blu – il personaggio riesce in realtà a presentare un’interessante riflessione sul rapporto umano-scimmia evolvendosi in maniera tutt’altro che banale su quale sia, a tutti gli effetti, la specie dominante – ed in questo il film gioca in più di un’occasione, con un paio di twist nel corso della pellicola e soprattutto un finale che presenta un interessante campo da gioco per un eventuale futuro della serie. Peccato invece per alcune tematiche che avrebbero potuto giovare di un ulteriore approfondimento – come la riflessione sulla crescita personale del protagonista, il suo rapporto con la sua amata, la volontà di Proximus di voler sfruttare la tecnologia umana per diventare sempre più forte ed intelligente anche a costo di dover soggiogare i suoi pari – e che vengono invece relegate a poche sequenze, sicuramente riuscite ma incapaci di competere con la forza delle pellicole precedenti.

    “Kurosawa con le scimmie”

    Forse un po’ pretenziosa la definizione usata da Friedman per definire la sua storia, rimane comunque il fatto che quel mix di road e revenge movie – simile ma non troppo a quanto visto in War – riesce nell’intento di accompagnare lo spettatore alla scoperta di un mondo magnifico fatto di panorami mozzafiato e personaggi tutto sommato interessanti. Grande merito nella costruzione dell’atmosfera va di certo alla ormai sinonimo di qualità Wētā FX che già aveva portato alla realizzazione dei precedenti capitoli e che qui schiaccia decisamente l’acceleratore soprattutto in alcune inquadrature strette sui volti dei personaggi principali da mozzare il fiato. Ottima anche la fotografia di Gyula Pados, già da diverso tempo collaboratrice di Ball e capace di creare davvero suggestivi sia nelle riprese diurne che notturne, sia nella fitta giungla del Clan delle Aquile che sulle rocciose spiagge del regno di Proximus, alla quale si affianca una fantastica regia da parte di Wes Ball, capace soprattutto di brillare nelle sequenze più movimentate sempre chiare e decifrabili – nonostante la grande quantità di cgi a schermo – ma soprattutto capaci di trasmettere la giusta dose di adrenalina che si si aspetta da un blockbuster di questo genere.

    Piccolo kudos anche al comparto attoriale, sia nella risicata componente umana retta da un’ottima Freya Allan capace di trasmettere molto anche senza l’utilizzo della parola ed un William H. Macy relegato ad un piccolo ruolo che avrebbe forse giovato di più spazio, ma soprattutto alla triade composta da Peter Macon, che riesce a dare carattere e voce a Raka rendendolo istantaneamente uno dei personaggi più iconici della saga, Kevin Durand nei panni del fantastico Proximus che incanta ma che avrebbe a sua volta giovato di maggiore screen time, dando un po’ quella sensazione di “villain sprecato” tipico di Casa Marvel, ma soprattutto dall’ottimo Owen Teague che come protagonista, pur non raggiungendo le vette del precedente Andy Serkis, comunque riesce a mettere in scena una prova eccellente, sia durante i dialoghi sia nelle sequenze in cui invece a prevalere è la recitazione del corpo.

    Conclusioni

    Il cambio di regia e di sceneggiatura non sembra aver portato alla disfatta della saga, che anzi con Il regno del pianeta delle scimmie apre nella giusta maniera una nuova storia con nuovi protagonisti e nuove vicende senza però dimenticare quanto venuto prima. Se sul fattore narrativo la pellicola si dimostra inevitabilmente inferiore soprattutto a Dawn e War, nella messa in scena non ha di certo invece nulla da invidiare con attori perfetti nei propri ruoli, cgi come sempre di altissimo livello ed una regia che dà il meglio di sé soprattutto nelle sequenze più adrenaliniche.

    Sembra quindi il caso di dirlo, per i fan della saga “Oggi è – davvero – un giorno magnifico!”

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    Mattia Bianconi,
    Redattore

  • Recensione L’Impero – Astronavi, mucche, cavalli e spade laser

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    Dopo essersi aggiudicato il Premio della Giuria alla 74ª edizione del Festival internazionale del cinema di Berlino, L’Empire di Bruno Dumont è approdato in anteprima nazionale alla 42a edizione del Bellaria film festival. Citato già nel titolo (L’Impero colpisce ancora), bersaglio del nuovo bizzarro film fantascientifico-parodistico del regista francese è il franchise di Guerre Stellari, ma in generale tutto il panorama contemporaneo dei blockbuster made in U.S.A, da Dune ai supereroi in calzamaglia.

    In un villaggio di pescatori lungo la costa francese si scatenano le prime avvisaglie di una battaglia intergalattica: gli abitanti locali non sanno che dietro ad alcune persone comuni si nascondono delle forze extraterrestri pronte a combattersi, il popolo degli “uno” e quello degli “zero”. La principessa dell’Impero degli “uno”, Jane (Anamaria Vartolomei), è in missione sulla terra per evitare che le forze oscure degli “zero” conquistino il mondo tramite l’erede di Freddy (Brandon Vlieghe), quest’ultimo figlio del pescatore Jony ma nato dall’unione tra un’umana e un extraterrestre.

    Il franchise di George Lucas è richiamato anche dai costumi, oltre che dalle astronavi

    L’Empire, ambientato nella Francia più rustica tanto cara alla filmografia di Dumont è quindi un mélange sfacciatamente rozzo (esattamente come i pescatori protagonisti, e quindi comprensibile) tra sci-fi e cinema agreste, terreno, di comunità, e il mix conserva il fascino di una provocazione (ahimé già) fuori dal tempo e al contempo costituisce un rovinoso autogol. Nel film ci sono tante idee, perlopiù interessanti, a partire dal world-building, che giustappone continuamente “alto” e “basso”, vale a dire il villaggio di pescatori con le astronavi aliene che – intuizione divertente – altro non sono che la Reggia di Caserta e una cattedrale gotica; le spade laser tagliano teste e la polizia incolpa l’Isis; al contrario dei principali blockbuster statunitensi può capitare che si faccia sesso randomicamente, in ogni momento e senza nemmeno troppi motivi (ammiccamento nemmeno troppo velato alle controverse storyline romantiche degli ultimi Star Wars, ma anche all’assenza d’erotismo in tutto il franchise della Marvel); la società è completamente polarizzata, e la contrapposizione senza alcuna sfumatura fra “uno” e “zero” può essere anche letta come l’appiattimento totale delle fazioni nemiche frequente tanto nelle saghe stellari quanto in quelle del MCU.

    L’astronave degli “zero”, vi ricorda qualcosa?

    Ma “uno” e “zero” sono anche i due gruppi in cui è destinata a polarizzarsi la critica di fronte a progetti estremi come L’Empire: la tesi citata anche più volte dallo stesso Dumont secondo cui il film possa costituire la “risposta europea” ai pop corn movie d’oltreoceano, anche nella sua palese provocazione, rischia comunque di scadere anche in un grossolano provincialismo, proprio in un periodo in cui il cinema europeo sembra essersi dimenticato dei blockbuster e in cui non avrebbe altro che imparare dai successi americani al botteghino (sì, anche di fronte a un fisiologico declino della progettualità dell’Mcu). È chiaro che la vena parodica serva anche da campanello d’allarme proprio per l’industria europea, ma il carico teorico del film si spegne presto, forse già dopo la prima mezz’ora, perché le gag si ripetono, i meccanismi sono farraginosi, e più che un manuale teorico sembra di sfogliare il libretto delle istruzioni con ancora tutti i pezzi da assemblare. Dopo Barbie anche L’Empire cita a più riprese i Monty Python e il loro Sacro Graal con le iconiche sequenze a cavallo, ma non sappiamo quanto sia conveniente per Dumont ricordarci il gruppo comico britannico, perché se pensiamo anche a un “gemello” come Balle Spaziali notiamo come la costante sia sempre stata il gusto del racconto cinematografico.

    Le truppe si preparano alla battaglia

    Autori come la compagnia di Terry Gilliam o Mel Brooks non si sono mai anteposti al racconto, sono sempre stati al servizio di una parodia sì dissacrante ma che – anche con i suoi parossismi, le sue giustapposizioni spiazzanti, le sue iperboli impossibili – ha sempre avuto il piacere di narrare una storia come punto fermo, guardando sempre al pubblico e mai con autoreferenzialità. La narrazione de L’Empire, al contrario, scricchiola perché ogni scena vuole essere teoria e la provocazione si disperde nel tedio della ripetizione e della riproposizione stolide, con un risultato di cui si percepisce l’intento ma che lascia perlopiù perplessi. Restiamo basiti soprattutto perché Dumont rischia di cadere nello stesso stereotipo di cinema agreste e provinciale europeo che lui stesso vorrebbe criticare, non capendo mai quanto strizzi l’occhio parodico al cinema di massa statunitense e quanto a quello nostrano, restando in una zona grigia che lascia tanti dubbi e pochi sorrisi. Resta qualche intuizione divertente, come le astronavi che sfrecciano sopra le barche dei pescatori, oppure l’imperatore degli “zero” e le masse amorfe che prima di atterrare sulla terra gridano “Apocalisse! Apocalisse!” con piglio infantile, ma sono piccole briciole all’interno di un calderone che smette di ribollire prestissimo e che, se probabilmente conquisterà i più indefessi seguaci della “politica degli autori”, lascerà la maggior parte del pubblico con un pugno di mosche; anzi, peggio, lascerà gli spettatori ancora con l’idea che l’unico modo possibile di fare blockbuster fantascientifici in europa sia quello de L’Empire. Speriamo che il futuro smentisca questa ipotesi, almeno significherebbe che la sirena d’allarme è arrivata alle produzioni europee.

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    Alberto Faggiotto,
    Redattore.

  • Il giardino delle vergini suicide – L’esordio di Sofia Coppola

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    Torna al cinema in questi giorni il film d’esordio di Sofia Coppola: Il giardino delle vergini suicide (The Virgin suicides), uscito per la prima volta nel 1999 negli USA e nel 2000 in Italia. Si tratta di un adattamento dell’omonimo romanzo di Jeffrey Eugenides (1993).

    Ci troviamo in Michigan, nella prima metà degli anni Settanta. Le sorelle Lisbon, Therese (Leslie Hayman), Bonnie (Chelsea Swain), Lux (Kirsten Dunst) e Cecilia (Hanna R. Hall) hanno una vita apparentemente perfetta e due genitori estremamente severi. Cecilia muore al secondo tentativo di suicidio, ma i genitori fanno in modo che il fatto venga trattato come un incidente. Quattro ragazzi del quartiere, nonché compagni di scuola delle sorelle, da quel giorno si rendono conto della vita isolata che conducono e diventano ossessionati dall’idea di indagare: prima passando più tempo con loro e poi, quando la madre le chiuderà in casa, cercando di comunicare attraverso la posta e i segnali dalla casa di fronte. Tutta la storia è raccontata in forma di flashback da uno di loro.

    L’ennui

    Il film è pervaso in maniera sottile da un’atmosfera malinconica, ma comunque abbastanza percepibile soprattutto nelle scene girate all’esterno, dove è più evidente un uso strumentale della fotografia. L’estetica che negli anni ha reso la cifra stilistica di Sofia Coppola qualcosa di riconosciuto e riconoscibile, tanto che lei stessa l’ha definita il suo personale female gaze, è già presente in questa pellicola. Dai colori opachi alla perfezione di acconciature e vestiti, questi ultimi marcatamente femminili e troppo infantili per l’età delle protagoniste, ogni immagine stride con la gravità dei fatti e le allusioni alla tragedia in corso. Le sorelle Lisbon rimangono composte e impassibili quasi in ogni momento, al punto che nemmeno il giorno in cui tornano a scuola dopo la morte di Cecilia appare diverso dagli altri. Il difetto che si può trovare a quest’opera prima è forse proprio uno sbilanciamento verso la rappresentazione di questa dissonanza, con una grande attenzione anche ai dettagli scenografici a scapito dei dialoghi, che non permette alla drammaticità dei fatti di emergere completamente. Le immagini, tra cui alcune sequenze che ricordano volutamente un videoclip musicale, sono accompagnate da una colonna sonora altrettanto sommessa e distaccata, quasi interamente costituita da un sottofondo ambient. L’album in questione era stato composto appositamente dal duo francese AIR, che la regista aveva contattato di persona, e venne poi pubblicato nel 2000 con l’etichetta discografica Source di Virgin Records.

    Dietro l’immagine

    Negli unici momenti in cui le sorelle vengono lasciate a loro stesse la patina eterea del racconto svanisce, in particolare dentro la casa o durante il ballo: scene nelle quali si comportano come adolescenti normali al pari delle loro controparti maschili. La parte più interessante di Virgin Suicides non è quindi la vicenda in sé quanto il fatto che le protagoniste non siano mai libere di raccontarla in prima persona. Così come a raccontarle come bambine che hanno bisogno di stretta sorveglianza sono i genitori, in particolare la madre, a renderle speciali agli occhi dei vicini e dei ragazzi è l’idolatria con la quale le osservano questi ultimi, idolatria che li tiene necessariamente a distanza. L’impossibilità di conoscerle aumenta a sua volta a dismisura il senso di mistero, ingigantendo ogni dettaglio che si riesce a racimolare fino a creare di fatto degli esseri mitologici.

    Il tentativo dei ragazzi di decifrare i loro segnali è fallimentare perché si ostina a partire dal presupposto di dover capire qualcosa di alieno. Alla fine non ignorano quello che è accaduto, al contrario della comunità intorno a loro, ma rimangono comunque spettatori esterni.

    La vera tragedia, in questo coming of age troncato a metà nel quale le storie d’amore restano a malapena abbozzate e metà dei personaggi scompare nel nulla, è il fatto che le protagoniste non siano protagoniste. Le sorelle Lisbon sono vittime delle narrazioni altrui, cercano nei loro coetanei una via di fuga e non la trovano, nonostante la grande attenzione riservatagli dagli stessi, poiché questi sono accecati da un fascinazione che non permette di ascoltare realmente.

    “Obviously, Doctor, you’ve never been a 13-year-old girl.” -Cecilia.

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    Federica Rossi,
    Redattrice.

  • Recensione Cuckoo – L’horror europeo con Hunter Schafer che tenta l’impossibile

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    Viene presentata per la prima volta nei 72 anni di storia del Trento Film Festival una pellicola horror: si tratta di Cuckoo, in uscita nelle sale italiane a partire dal 2 maggio.

    Il film si lega al leitmotiv del Festival, montagne e culture, attraverso le suggestive ambientazioni: siamo nelle alpi germaniche in una località turistica circondata da alberi dalle tonalità Twin Peaks-iane. Una strada di montagna solitaria è l’unico collegamento tra questo non-luogo austero e qualsiasi altro segno di civiltà. È in questo contesto che la protagonista (interpretata da Hunter Schafer) si ritrova costretta a passare la vacanza con suo padre e la sorellastra, la quale mostra da subito segni disturbanti di un possedimento da parte di una forza esteriore. Il signor König (interpretato da Dan Stevens), proprietario dell’hotel in cui è ambientata la vicenda, inizierà a manifestare un inquietante interesse per quest’ultima, risultando in un acceso confronto finale tra personaggi reali e non.

    Il film, di produzione tedesca, imita uno stile tutto americano di costruzione dell’horror: dagli attori in primis alla scelta della one-location, dalle rivelazioni man mano più orrificanti seminate per la trama alle vibes che ricordano Stranger Things ai suoi esordi, tutto è un tentativo di rimandare a un già visto e già fatto. La pellicola risulta un mediocre tentativo di unire il genere horror a uno stile aggrazziato iper-saturato, in una fallita imitazione di uno stile anni ottanta gradevole agli occhi capace di attrarre pubblico da un trailer, ma non di appassionarlo al mondo che tenta di costruire. La sceneggiatura, del resto, non regge il gioco, presentando non pochi buchi di trama e nessun guizzo creativo rispetto al genere, facendo cadere il film nel dimenticatoio. La sfida impossibile di imitare un prodotto americano ha un discreto successo, ma è quello stesso tentativo a farci chiedere se è questo il massimo a cui il cinema europeo può davvero ambire.

    Brillano invece le performance di Hunter Schafer, straziante senza risultare stuccevole, e Dan Stevens, che i panni dello pscicopatico sembrano essergli cuciti addosso.

    E poi, soprattutto, c’è un needle drop in crescendo che è la fine del mondo: Il Mio Prossimo Amore di Loretta Goggi fa da sottofondo alle scene finali del film, in un momento rallentato nel tempo che ricorda vagamente In Ginocchio da Te di Gianni Morandi in Parasite. C’è dunque un po’ d’Italia che fa sorridere e ci ricorda che siamo di fronte a una produzione non lontana dai nostri confini, e per cui andare tutto sommato fieri. Sono però queste meravigliose note a ricordarci che il potenziale era a portata di un’ottima sequenza, ma c’è stata troppa paura di osare, cadendo in una regia troppo “sicura”. E se c’è un genere su cui buttarsi, magari è proprio questo. Forse l’Europa dovrebbe tentare più innovazione e meno imitazione.

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    Lara Ioriatti,
    Redattrice.

  • Recensione The Fall Guy – Lo stuntman innamorato

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    The Fall Guy (2024) è l’ultimo film di David Leitch, che ritorna dopo l’ottimo risultato ottenuto con Bullet Train (2022), riproposizione pulp del genere action da lui tanto frequentato, che vede il ritorno sul grande schermo di Ryan Gosling dopo l’enorme successo dell’estate 2023 con Barbie di Greta Gerwig, affiancato anche questa volta da una co-star di eccezione: Emily Blunt.

    Il protagonista di The Fall Guy è uno stuntman di Hollywood, Colt Seavers (Ryan Gosling), che dopo un brutto infortunio sul lavoro torna sul set per un film la cui regia è curata da Jody Moreno (Emily Blunt), sua fiamma del passato, e che vede nel ruolo di protagonista Tom Ryder (Aaron Taylor-Johnson), con cui ha un rapporto attore – stunt-man di lunga data. La vicenda si complicherà quando Tom Ryder sparirà dalla circolazione mettendo in difficoltà il proseguire dei lavori sul set, e proprio Colt Seavers verrà incaricato di ritrovarlo, invischiandosi in un complotto più grande di lui.

    La figura dello stuntman è il centro gravitazionale dell’intero racconto, una figura che sembra essere tornata al centro dell’attenzione nel mondo del cinema, considerando anche lo splendido personaggio di Cliff Booth in C’era una volta a… Hollywood (Once Upon a Time in… Hollywood, 2019) di Quentin Tarantino. Lo stesso David Leitch è un ex stuntman, proprio come il suo socio Chad Stahelski, regista e ideatore della saga di John Wick, con cui ha creato una società di stunt-men. The Fall Guy è dichiaratamente un’ode a questa pericolosa professione, fondamentale per impreziosire i nostri film preferiti, ma alla quale non viene molto spesso dato il giusto credito. Di conseguenza si tratta di un film sul mondo del cinema, sui suoi retroscena, in cui il mondo del set è centrale e dove si lascia spazio a decine e decine di citazioni cinematografiche.

    In fondo, però, prima di essere un film action scoppiettante ad alto budget, esagerato, pieno di effetti speciali ed esplosioni, come solo David Leitch sa fare (bene), si tratta di una commedia romantica, proprio come Pretty Woman (Garry Marshall, 1990), Notting Hill (Roger Michell, 1999) e Love Actually (Richard Curtis, 2003), tutti film citati dai personaggi di The Fall Guy, in un continuo rimando meta-cinematografico in cui non solo si parla del mondo delle produzioni cinematografiche, ma del cinema stesso, nella sua totalità. La relazione tra Colt e Jody trova terreno fertile, con espliciti rimandi, nella storia del film che stanno girando e nelle dinamiche del set.

    Soffermiamoci un momento sul dualismo della figura di Ryan Gosling: capace di essere l’imperturbabile icona mascolina di film neo-noir del calibro di Drive (Nicolas Winding Refn, 2011), dove condivide con The Fall Guy la professione di stunt-man, o di Blade Runner 2049 (Denis Villeneuve, 2017) e, allo stesso tempo, presentandosi come icona comedy capace di decostruire il concetto e gli stereotipi relativi alla mascolinità: in Barbie di Greta Gerwig nei panni di Ken dovrà arrendersi alle sue fragilità e al dolore di un amore non corrisposto; in The Nice Guys (Shane Black, 2016), film che consigliamo caldamente di recuperare, è un investigatore privato imbranato, incapace, le cui intuizioni finiscono con l’essere più casuali che altro.

    Proprio questa natura comedy di Ryan Gosling emerge con dirompenza in The Fall Guy, e in alcune sequenze appare, nonostante le sue capacità fisiche tipiche del genere action, come l’opposto del “duro”, del maschio alfa. Iconica la sequenza di montaggio in cui Colt, seduto in macchina, ascolta All too well di Taylor Swift ricordando la sua passata storia d’amore con Jody e piangendo. Insomma, si tratta di un eroe non invincibile, con problemi di autostima, che riesce ad aprire il proprio cuore anche quando è doloroso farlo.

    Il film è inoltre caratterizzato da una forte attenzione dedicata all’elemento visivo, come durante la scazzottata ad una serata a tema fluo; in una sequenza viene fatto un uso dello split-screen a regola d’arte, pienamente inserito nelle dinamiche narrative del film; Colt indossa una giacca del suo primo film da stunt-man, Miami Vice, che sembra voler richiamare l’iconica giacca con lo scorpione di Drive. Perfettamente centrata la scelta delle musiche, con una sequenza al karaoke in cui Emily Blunt dimostra le sue doti canore, oltre alle ben evidenti doti da attrice co-protagonista capace di reggere il passo di un Ryan Gosling a briglie sciolte. Ottima anche la presenza di Aaron Taylor-Johnson, il vociferato nuovo 007, brillante stella in ascesa nel panorama hollywoodiano, che torna a collaborare con David Leitch dopo Bullet Train. Purtroppo The Fall Guy condivide con Bullet Train il più evidente tra i suoi difetti, ovvero una durata eccessiva, che se scremata a dovere avrebbe consegnato agli spettatori un film più ritmato e, forse, più incisivo.

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    Alessandro Corrao,
    Redattore.