FRAMES CINEMA

Category: Recensioni

Recensione Di là dal fiume e tra gli alberi – Hemingway a Venezia

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Di là dal fiume e tra gli alberi (Across the river and into the trees) è la trasposizione cinematografica, diretta da Paula Ortiz, dell’omonimo romanzo di Ernest Hemingway. Il film esce con qualche anno di ritardo: era stato girato nel 2021, la distribuzione era iniziata ufficialmente nel 2022 ma aveva riguardato solo poche sale nel Regno Unito e in Canada, due dei paesi che l’hanno co-prodotto insieme all’Italia.

Ci troviamo nel secondo dopoguerra. Il colonnello statunitense Richard Cantwell (Liev Schreiber) è di stanza a Trieste. Dopo aver ricevuto la diagnosi di una malattia terminale decide di tornare a Venezia, dove aveva trascorso molti anni, apparentemente per potersi godere un ultimo fine settimana di caccia alle anatre. Qui incontra la giovanissima contessa Renata Contarini (Matilda De Angelis), che decide di trascorrere più tempo possibile con il colonnello, trascurando i propri impegni nei confronti della madre (Laura Morante) e del fidanzato.

Con un approccio fedele all’opera di Hemingway, ciò che viene messo in scena sono i semplici fatti: nemmeno nei dialoghi più importanti tra i protagonisti assistiamo a grandi rivelazioni o dichiarazioni. La caratterizzazione dei personaggi traspare in modo implicito, sta allo spettatore cogliere le intenzioni e le motivazioni sottintese. In questo sia De Angelis che Schreiber fanno un ottimo lavoro.

La città intorno a loro è vuota: Ortiz ha approfittato del fatto che nel 2021 le restrizioni legate alla pandemia erano ancora in vigore e rendevano molto facile avere intere strade deserte, persino nel centro di Venezia. Si tratta di un elemento che ha un grande peso in questo film dall’estetica estremamente curata: la quasi assenza di comparse rende l’atmosfera surreale, come se gli abitanti del centro storico fossero in una dimensione isolata dal resto del mondo. Inoltre non può essere mossa alcuna critica alla fotografia, alla scelta della ratio e i colori intensi che contribuiscono all’atmosfera cupa e romantica. La prima versione del lungometraggio era stata prodotta in bianco e nero, con solo i flashback a colori, tuttavia la versione che si trova ora al cinema è interamente a colori.

Di là dal fiume e tra gli alberi è una riflessione sulla morte e sui limiti fino ai quali la volontà del singolo può forzare il corso degli eventi: mentre il colonnello rivive le due guerre e le proprie responsabilità, ignorando ostinatamente la propria fine che si avvicina; Renata ha tutta la vita davanti, non ha ancora compiuto le scelte che dovranno determinate il suo futuro ed è molto più disposta di lui a fare domande scomode e contestare tutto quello che la sua posizione sociale le impone. Il rapporto tra i due si consuma in lunghi dialoghi, perlopiù notturni per le strade, dal carattere romantico nel senso letterario del termine.

Purtroppo, nel tentativo di mantenere l’atmosfera asciutta e riflessiva del testo originale, ad un certo punto si è andata a perdere la stratificazione di significati caratteristica di Hemingway. In particolare la parte centrale del racconto finisce per rimanere troppo in superficie, l’idea di lasciare spazio all’implicito fallisce nei momenti in cui le conversazioni si allungano nel tempo e, perdendo il focus, danno l’impressione che gli sceneggiatori stessi si fossero dimenticati cosa dovevano implicare. Il ritmo riprende poi velocità verso la fine, dove vengono inseriti flashback anch’essi poco coerenti con la modalità introspettiva che il racconto aveva impostato dall’inizio. A questo difetto si aggiungono alcuni elementi fortemente anacronistici che, pur non essendo rilevanti per la coerenza dell’arco narrativo, rischiano di rompere improvvisamente la sospensione dell’incredulità. Uno dei brani scelti per la colonna sonora, a questo proposito, stride particolarmente sia con l’atmosfera che con la caratterizzazione di Renata, protagonista della scena che utilizza questo brano. Considerando la pellicola nell’insieme non si tratta certo della migliore trasposizione possibile, ma riesce comunque a restituire le atmosfere e le tematiche del romanzo.

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Federica Rossi,
Redattrice.

July 8, 2025
Recensione The End – L’ultimo capitolo di una trilogia dolorosamente attuale

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Perché mai Joshua Oppenheimer, regista noto per i suoi documentari, decide di girare un musical postapocalittico?

Dopo aver vinto il Gran Premio della giuria a Venezia nel 2014 per The Look of Silence ed essere stato candidato agli Oscar ben due volte, Oppenheimer torna sul grande schermo con un film di finzione estremamente legato ai precedenti The Act of Killing (2012) e The Look of Silence (2014). Anche questo terzo progetto, nonostante sia ambientato negli USA e in parte filmato nelle miniere di salgemma nei pressi di Palermo, ha la sua genesi in Indonesia. Il regista avrebbe voluto produrre un documentario sugli oligarchi indonesiani e su come questi avessero sfruttato il genocidio del 1965 per salire al potere e arricchirsi.

Non potendo tornare in Indonesia dopo l’uscita di The Act of Killing per ragioni di sicurezza, Oppenheimer decide di cercare altrove e si imbatte in un magnate del petrolio che sta facendo costruire un bunker nel quale vivere con la propria famiglia per sfuggire agli orrori da egli stesso perpetrati.
The End è la risposta ad un quesito impossibile da porre: come si convive con la consapevolezza di aver lasciato morire i propri cari e miliardi di persone per salvare se stessi?

Sono passati circa vent’anni dalla catastrofe naturale che ha distrutto il mondo e ucciso tutti gli abitanti del pianeta. Non proprio tutti a dire il vero. Un ristrettissimo gruppo di sopravvissuti continua a trascorrere le proprie monotone giornate all’interno di un bunker che chiama casa.
La famiglia è composta dal Figlio (George MacKay), nato tra quelle mura, il Padre (Michael Shannon), la Madre (Tilda Swinton) e la sua Migliore Amica (Bronagh Gallagher), il Medico (Lennie James) e il Maggiordomo (Tim McInnerny).

I dipinti che decorano le pareti permettono di affacciarsi su un mondo inaccessibile e ormai scomparso. Sono un ricordo di qualcosa che non esiste più e forse non è mai esistito. Perché le menzogne che i personaggi raccontano e alle quali finiscono per credere distorcono la realtà come la pennellata impressionista.

Il Figlio costruisce un modellino per conservare la memoria delle grandi gesta dell’umanità, di un’umanità mai vissuta, mai sperimentata ma solo raccontata e filtrata, modificata da altri.

Scrive le memorie del Padre: un magnate del petrolio convinto di aver fatto del bene, di essere un eroe, di aver salvato e migliorato innumerevoli vite umane.

Pensa che la Madre abbia calcato il palco del Bolshoi e che il figlio della Migliore Amica sia morto di cancro.

Ipocrisia e bugie reggono il finto idillio accuratamente organizzato: nuoto in piscina per tenersi in forma, esercitazioni di sicurezza per sapere affrontare le emergenze e tiro al bersaglio per potersi difendere dai nemici, nuova disposizione dei quadri, costruzione di fiori di carta per abbellire ogni stanza, redazione di alcune pagine del libro, rifinitura del modellino.

È l’arrivo di Ragazza (Moses Ingram) a far vacillare l’instabile equilibrio.
Dove fuggire quando la verità viene a galla? Rifiutare la falsità o incarnarla?

La scelta di girare un musical è dovuta al legame imprescindibile tra questo genere e la nazione a stelle e strisce dove la storia è ambientata, ma anche della passione del regista per Les parapluies de Cherbourg (1964) di Jacques Demy (amore condiviso, tra gli altri, con Damien Chazelle: il suo La La Land si ispira alla pellicola interamente cantata di Demy).

Le canzoni, scritte da Oppenheimer e composte da Joshua Schmidt, si richiamano continuamente andando a costituire un unicum che coinvolge maggiormente lo spettatore.
Il canto caratterizza i momenti di crisi dei personaggi che cercano di autoconvincersi e mentono al proprio io per andare avanti, per giustificare le proprie azioni, per non riconoscere i propri sbagli.
La colpa li tormenta, la verità li perseguita: sono responsabili della morte di milioni ma sono egoisticamente ancora vivi.

Il silenzio tuona minaccioso. Nel silenzio, l’insensibilità, la crudeltà, il dubbio, il pentimento sono impossibili da nascondere, da sopportare.

A chi chiedere perdono?

Ancora una volta, Joshua Oppenheimer e la sua macchina da presa si oppongono ad una visione anestetizzata del cinema e del mondo che ci circonda, mostrando l’umanità tremenda e spaventosa che risiede in coloro che etichettiamo come “mostri”.

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Eva Sternai,
Redattrice.

July 7, 2025
Recensione Reflection in a dead diamond – Un’allucinazione tra le immagini

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Dopo Amer e Lacrime di sangue, Hélène Cattet e Bruno Forzani tornano a esplorare il cinema di genere italiano con Reflection in a dead diamond, uno spy movie psichedelico che si insinua nella percezione dello spettatore.

Presentato all’ultima Berlinale, il lungometraggio si allontana totalmente dalle canoniche regole della narrazione.

Non esiste un racconto ordinato, la trama non è rilevante, quel che conta sono le immagini, che vengono riprodotte una dietro l’altra, senza sosta, senza permettere al cervello di classificare le informazioni.

L’ambientazione dalla quale partiamo è un albergo della Costa Azzurra, in cui l’ormai pensionata spia John Diman (Fabio Testi) soggiorna da tempo sorseggiando drink e osservando il mare. L’interesse per una vicina di stanza scatena in lui le reminiscenze di un passato turbolento, tra diamanti rubati, fughe e combattimenti.

Questo è però solo un punto di inizio, un’idea che si sviluppa in tanti frammenti attraverso i quali si entra e si esce da una memoria disordinata e talvolta ambigua.

Tutto ci riporta ai film italiani di spionaggio degli anni’60, a partire dai titoli di testa con un font in grassetto rosso fuoco su uno sfondo nero. I colori della fotografia sono saturi, vividi, quasi appaiono fuori dallo schermo.

Attraverso degli zoom improvvisi scopriamo i dettagli degli occhi dell’agente segreto, pronti a rivivere altri momenti e a intrecciarsi con il suo stesso sguardo da giovane (Yannick Renier). Spesso la camera si inclina, ricorrendo all’angolo olandese, come a sottolineare lo stato di alterazione psicologica di Diman.

Tra dissolvenze e split screen avviene una manifestazione concreta del visibile. Non dobbiamo capire, dobbiamo guardare, addentrarci nell’illusione, privilegiare la vista e l’udito, lasciarci trascinare da una sorta di allucinazione che continua a esistere per 87 minuti.

Non riusciremo mai a delineare dei contorni tangibili, ad agguantare una consapevolezza.

In questo delirio dei sensi ragionato non mancano gli omaggi a Diabolik di Mario Bava, qui rivisitato in versione femminile con la temutissima e sfuggente Serpentik, e all’universo del terrore di Dario Argento. Si passa dall’erotismo, alla violenza fino al body horror, tutto condito da effetti e canzoni retrò (una fra tante 24.000 baci di Celentano).

Testi risulta una presenza esteticamente giusta in questa cornice. Ricorda (o gli piacerebbe ricordare) lo Sean Connery di Goldfinger e con un completo bianco si muove tra pochissime parole per i corridoi dell’hotel tenendo tra le mani una coppetta da cocktail.

Protagonista a parte, i personaggi sono sfuggenti, non è importante approfondirli, basti pensare alla misteriosa signora interpretata da Maria de Medeiros, il cui volto si presta perfettamente a questo gioco elusivo.

I registi mettono in scena un turbinio di sequenze disturbanti, trasportandoci in un quadro di Caravaggio, in un fumetto, in un fotoromanzo e addirittura su un set cinematografico, ma mai aiutandoci a distinguere il vero dal falso, la realtà dalla finzione.

Reflection in a dead diamond è sicuramente un viaggio mentale, in cui le suggestioni si impongono un fotogramma dopo l’altro.

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July 7, 2025
Recensione M3gan 2.0 – Un b-movie con il budget, più o meno

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Blumhouse è sinonimo di novità, di scommessa, di iconicità. Dieci anni fa, all’uscita di Paranormal Activity, Insidious, Sinister, La notte del giudizio o Le streghe di Salem, probabilmente questi commenti erano sulla bocca di tutti gli appassionati di horror che correvano in sala ad ogni nuova pellicola curiosi di scoprire il loro ipotetico nuovo horror preferito.

Ad oggi la situazione, purtroppo, non è più così rosea: la media dei film prodotti da Blum infatti spazia ormai tra il mediocre ed il fallimentare, con rari casi di pellicole che riescono a salvarsi. Proprio tra questi ultimi troviamo M3gan, pellicola del 2023 diretta Gerard Johnstone da un soggetto di James Wan e che ha incassato, a fronte di un budget di 12 milioni, ben 180 milioni di dollari: un enorme successo, soprattutto di pubblico, mentre la critica si è divisa tra chi riconosceva i pregi anche a fronte degli evidenti limiti e chi invece ha affossato completamente il tutto, criticando sia gli aspetti horror poco incisivi che la volontà di eccedere sul trash e l’assurdo.

Proprio questi ultimi sicuramente detesteranno la via intrapresa per il seguito, approdato in questi giorni in sala sempre per la regia di Johnstone ma che, dopo un primo capitolo ascrivibile al comedy-horror, decide di fare la James Cameron-ata, lasciando da parte l’horror in favore di un’azione molto più centrale e rendendo l’ormai iconica bambola non più villain ma vera e propria protagonista ed eroina – vi ricorda per caso qualcuno?

Cambio di genere, stesse tematiche

Dopo un’apertura – decisamente poco felice, ma sfortunatamente casuale – “da qualche parte sul confine irano-turco” che ci mostra in azione Amelia, un prototipo di androide realizzato dall’intelligence americana da utilizzare per missioni segrete, e ci presenta quindi la grande minaccia del film, la pellicola ci riporta da Gemma e Cady che, a due anni di distanza dagli eventi del primo capitolo, si ritrovano la prima a gestire pubblicamente le conseguenze della creazione di un robot assassino e la conseguente aggregazione con un gruppo di sensibilizzazione sui rischi dell’IA, soprattutto sui giovani, e la seconda a crescere nel rapporto con la zia e con i classici problemi da pre-adolescente. Tra la presentazioni di esoscheletri a milionari, operazioni segrete, drammi familiari e l’ombra di M3gan sempre presente, la narrazione presenta fin da subito un piglio decisamente meno realistico e più fumettoso, con aziende e personaggi presentati uno dietro l’altro a costruire una cosmogonia che premetta di ampliare quanto visto in precedenza. Nel fare ciò, fin da subito si abbandonano – come anticipato – le atmosfere più orrorifiche del precedente in favore di un mix di azione/spionaggio/heist movie sempre sopra le righe e che non si prende mai sul serio, permettendo di passare dall’infiltrazione ad una festa in pieno stile Soderbergh-iano, con tanto di preparazione del piano con brano pop in sottofondo, ad un inseguimento automobilistico che mescola Supercar a Fast & Furious.

Per i 120 minuti di durata – forse leggermente eccessivi ed asciugabili, soprattutto nell’ultima mezz’ora – le tematiche rimangono legate a doppio filo a quanto raccontato nel primo capitolo: se prima la riflessione era sul prestare attenzione all’utilizzo spropositato ed eccessivo dell’IA, soprattutto nell’ambito della sostituzione dei legami familiari con un dispositivo tecnologico, qui si verte maggiormente su una ipotetica “convivenza”, un utilizzo assennato della tecnologia per permettere di semplificare la vita e non di sostituirla completamente; al tempo stesso si riflette ancora sul concetto di famiglia, con lo stabilire i giusti legami anche con coloro che non condividono “il nostro stesso sangue” ma che sarebbero disposti a sacrificarsi per il nostro bene – Toretto, sei tu? Vale precisare che tutto ciò non è di certo presentato in maniera profonda né tantomeno fresca, quanto piuttosto con modalità abbastanza basilari e standard, ma non per questo da cestinare nella loro totalità. Rimane da dire che i personaggi, soprattutto umani, sembrano quasi involucri inseriti per necessità di accompagnamento alla vera protagonista del film – espediente che ricorda da vicino quanto visto con le ultime pellicole del MonsterVerse –, lasciando però un po’ di amaro in bocca e l’interrogativo sull’effettiva impossibilità di approfondirli oltre il livello più puramente di base.

The bitch is back, forse addirittura meglio di prima

A fronte del grande successo del primo capitolo, sembra quasi una scommessa assurda tralasciare l’elemento più “terreno” in favore di un racconto che punta tutto sull’eccesso: M3gan, dopo un primo momento di “confino”, viene upgradata così da essere più forte, più veloce ma soprattutto con una tuta alare; il villain sembra mimare l’IA Final Reckoningiana di recentissima memoria (senza tutta la profondità apocalittica, sia chiaro) con un piano di conquista del mondo da villain tra Marvel e DC; le guardie sono tutte armate di fucili futuristici e tute alla Halo; il mondo utilizza un sistema di collegamento tecnologico di luce ed internet quasi ctOS alla Watch Dogs. La sospensione dell’incredulità è a livelli massimi, ma qualora si sia disposti a entrare a patti con i vari elementi presentati, M3gan 2.0 presenta un’avventura leggera, capace di divertire il giusto e di strappare anche qualche risata (forse in)volontaria.

Ciò che eleva una sceneggiatura comunque abbastanza basilare e piena di forzature è senz’altro il comparto tecnico: il budget – alzato a 36 milioni – si manifesta nel cambio continuo di location, di costumi e nell’uso di una cgi massiccia ma mai fastidiosa, ma è soprattutto nell’incastro con una regia sempre chiara e pulita che la pellicola mostra il suo punto forte. Le sequenze di combattimento infatti, decisamente numerose, sono il fiore all’occhiello della produzione che, con coreografie decisamente funzionali, avvicinano il film a quell’action fisico e potente così in voga negli ultimi anni – ancora adesso in sala, ad esempio, con Ballerina – che riesce a creare un forte coinvolgimento con gli spettatori in continua ricerca di adrenalina.

Gradevolissime anche le innumerevoli citazioni, dalle più palesi alle più nascoste, con uno dei costumi di Amelia che riprende l’androide di Metropolis, la soundtrack di Supercar quando M3gan prende il possesso di una supercar completamente tecnologica, un covo degno della batcaverna di Batman e tantissimo altro.

Conclusioni

M3gan 2.0 è un film nato dall’enorme successo del precedente ma che decide di puntare su un cambio di rotta: in maniera simile al passaggio tra Terminator 1 e 2 – senza ovviamente la genialità cameroniana, sia ben chiaro – il film passa dall’horror-comedy all’action con elementi di spionaggio e heist movie ma senza dimenticare la commedia. La vera scommessa è però l’approdo sul trash totale, con sequenze che non si prendono minimamente sul serio e che cercano continuamente l’eccesso, quasi come se si volesse produrre un b-movie con un budget. Le idee carine ci sono, le tematiche di fondo sono interessanti e la realizzazione tecnica è davvero di ottima fattura, peccato per una sceneggiatura davvero basilare che non riesce mai a spiccare il volo e che finisce per arenarsi, forse, nel proverbiale “chi troppo vuole nulla stringe”.

Qualcosa però M3gan 2.0 lo stringe e propone un film leggero, forse leggermente troppo lungo ma che non si dimostra eccessivamente pesante ma che anzi diverte e riesce a coinvolgere, almeno nelle sequenze più movimentate. Questo secondo capitolo non è di certo il ritorno ai grandi fasti per la casa di Blum – ed anzi proprio distaccandosi dallo stilema più classico trova qualche forza in più – ma di certo si dimostra essere una gradita sorpresa. Che tra una settimana non ricorderemo forse più, ma comunque gradita.

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Mattia Bianconi,
Redattore.

July 1, 2025
Recensione Holy Cow – (non) diventare grandi all’improvviso

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Holy Cow nelle sale italiane si intitola Tutto in un’estate! ed è il promettente esordio alla regia di Louise Courvoisier, con una sceneggiatura scritta da lei stessa insieme a Théo Abadie. Il lungometraggio è stato premiato nell’edizione 2024 del Festival di Cannes per la categoria Un certain regard – Youth Prize, successo notevole se si considera che, oltre ad essere un’opera prima, vanta un cast composto esclusivamente da attrici e attori non professionisti. Il titolo francese era Vingt Dieux, letteralmente “venti Dei”, ma la sua versione internazionale è un gioco di parole che esprime perfettamente il tono leggero di questo coming of age un po’ diverso dal solito.

Ci troviamo ai piedi delle alpi francesi, nella regione di Franche-Comté, dove viene prodotto l’omonimo formaggio. Immersi nell’atmosfera naif di un documentario rurale à la Alice Rohrwacher, incontriamo il diciottenne Totone (Clément Faveau), che all’inizio della storia si sta togliendo i vestiti mentre è in piedi su una panca, nel bel mezzo di una sagra di paese, incoraggiato dai cori goliardici dei suoi amici. Non serve sapere altro perché Totone è un adolescente normale, in un contesto che chiunque sia cresciuto nella provincia profonda, anche di qua dalle Alpi, sentirà familiare. Dopo la morte improvvisa del padre il protagonista deve occuparsi della sorellina Claire (Luna Garret), ma non ha mai lavorato prima e i suoi tentativi di ottenere un impiego sono ostacolati dai pessimi rapporti che ha tenuto finora con gli altri giovani della zona. Decide allora di provare a produrre il Comté, nella speranza di vincere il primo premio del concorso dedicato e risolvere i suoi problemi economici. Insieme agli amici Jean-Yves (Mathis Bernard) e Francis (Dimitry Baudry), inizia a rubare il latte dalla fattoria di una sua coetanea, Marie-Lise (Maïwene Barthelemy). Per sua fortuna la ragazza ha un debole per lui, ma i fratelli di lei sono tra i ragazzi con cui Totone aveva già una rivalità.

A questo punto iniziamo ad accorgerci che questo coming of age ha delle caratteristiche particolari, innanzitutto perché la personalità del protagonista non sembra cambiare da un momento all’altro, a seguito di un montaggio drammatico con accompagnamento musicale (strategia che rimane assolutamente valida se girata con maestria, ma che sicuramente non è la più nuova in circolazione). Il montaggio di rito c’è, ma per tutta la durata del racconto Totone ha gli stessi diciotto anni che aveva all’inizio e la sua crescita è visibile solo nei dettagli, in un gesto che esita un momento in più del solito, o in una scelta più coraggiosa che dura solo il tempo dell’intimità con Marie-Lise. Il realismo estremo di questa rappresentazione è uno dei punti di forza del film, che tiene ancorato lo spettatore non per la trama ma perché è impossibile non immedesimarsi.

Courvoisier non ci risparmia nulla della fatica di essere un ragazzo adolescente, portando sullo schermo non solo la pressione sociale vissuta da Totone ma anche la sua causa e le conseguenze. Assistiamo a dialoghi e insulti tra coetanei di stampo chiaramente sessista, la competizione tra loro ha come unico obiettivo l’attenzione delle ragazze, più volte situazioni dolorose o di conflitto sfociano nella violenza fisica e nel distacco, anche tra amici. La trama principale, ovvero Totone che cerca di vincere il primo premio, diventa di fatto lo sfondo, l’escamotage per raccontare quanto la buona volontà non sia sufficiente a cambiare la propria vita dall’oggi al domani: ci vuole una pazienza che i protagonisti, anche comprensibilmente, non sono abituati ad avere.

A proposito di pazienza notiamo che ci sono dei momenti in cui il ritmo rallenta in modo considerevole. Questo succede perché le dinamiche relazionali tra adolescenti non sono l’unico livello di lettura strettamente sociale: anche la testimonianza delle comunità agricole alpine prende molto spazio. La necessità dei ragazzi di imparare a produrre il formaggio è il gancio per inserire nel film momenti istruttivi che sono di fatto dei mini documentari sui metodi tradizionali di produzione del Comté; questa scelta da una parte contribuisce all’originalità del racconto, dall’altra non sostiene una struttura che era già in partenza molto semplice e lineare. I due livelli sono poco integrati tra loro, soprattutto nella parte centrale del racconto. Tutto in un’estate rimane in ogni caso un ottimo esordio, un racconto tenero e leggero che lascia ben sperare per la carriera di Courvoisier.

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Federica Rossi,
Redattrice.

June 28, 2025
Recensione Alpha – La fine di un trittico

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Se Raw era un adolescente e Titane una giovane adulta tormentata, Alpha è il punto di piena maturazione, terrena e spirituale. La conclusione della trilogia che la regista francese Julia Ducournau porta avanti da quasi dieci anni, un trittico di film in cui a dominare la scena è il corpo umano in qualsiasi sua declinazione.

Abbiamo avuto la fortuna di vedere Alpha in anteprima al festival del Biografilm di Bologna, nella sua primissima proiezione dopo Cannes, ed è il momento perfetto per parlarne in attesa dell’uscita italiana fissata per settembre di quest’anno.

Alpha, sua madre, suo zio

Dopo aver raccontato le storie allucinanti di due giovani donne in Raw e Titane, Ducournau affida la narrazione del suo terzo film agli occhi e alla mente di Alpha, una ragazzina di appena tredici anni, che vediamo per la prima volta sullo schermo mentre si fa fare un tatuaggio improvvisato in casa di amici; tatuaggio più simile alla ferita lasciata da un pugnale o a una lettera scarlatta che a un disegno vero e proprio. Alpha (Mélissa Boros) vive con la madre (Golshifteh Farahani), infermiera nell’ospedale della città senza nome in cui si svolge il film, e la sua situazione familiare appare fin da subito molto problematica. La ragazzina sta per entrare nell’adolescenza, ma il suo periodo di ribellione sembra essere iniziato già da molto tempo; non aiuta l’improvvisa comparsa di suo zio Amin (Tahar Rahim), fratello della madre da anni dipendente dalle sostanze e senza un posto dove vivere.

Mentre Alpha si ritrova a condividere la stanza con quell’uomo quasi sconosciuto che ha visto solo un paio di volte da molto piccola, al di fuori delle quattro mura di casa, nell’ospedale dove lavora la madre, sempre più persone si presentano contagiate da una malattia che sembra essere incurabile: un virus che trasforma lentamente i tessuti del corpo in marmo bianco. E se l’ago con cui Alpha è stata tatuata fosse contaminato da questo strano morbo? Se anche lei fosse destinata a fare la stessa fine di quei pazienti mentre sua madre infermiera assiste impotente?

Corpi immobili di dolore e ricordi

La storia narrata da Alpha non è sempre comprensibile, ma la sua apparente confusione è giustificata dal fatto che ci stiamo basando solamente sulla mente di una ragazzina. Il racconto dei rapporti tra la giovane protagonista e quella strana famiglia formata dalla madre e dallo zio procede in un costante rimbalzare tra passato e presente, che a un certo punto sembrano fondersi tra di loro, mentre le immagini del film si lasciano influenzare dalle paure della piccola Alpha nei confronti del mondo che la circonda.

Il ricordo è una parte fondamentale del film, ma un ruolo ancora più importante lo ricopre il corpo umano come deposito dei ricordi stessi. Se in Raw avevamo davanti dei corpi quanto più carnali possibili, mossi da desideri logoranti, e in Titane si assisteva a qualcosa di ibrido tra corpo umano e macchina, tra carne e metallo, qui in Alpha vediamo corpi trasformarsi in vere e proprio rocce, quasi dei monumenti che sfidano il tempo. Le vene del corpo umano e il sangue all’interno, ciò che Amin sceglie di “sporcare” con le sostanze che si inietta nelle braccia, si trasformano nelle venature del marmo bianco, quella pietra di cui sono fatte le statue e i templi antichi che sono arrivati fino ai giorni nostri. Del resto, statue e monumenti non sono altro che un modo per mantenere vivo il ricordo di qualcosa o di qualcuno che non cammina più tra noi.

Una storia di fantasmi

Per usare le parole di Ducournau, Alpha è una storia di fantasmi, intima ma anche spaventosa, al confine tra il sogno e l’incubo. E la sua regia si muove in modo più che sicuro all’interno di questo viaggio allucinante alla scoperta di questa strana famiglia protagonista. Il film è anche ricco di molte citazioni, una delle più riconoscibili è la famosa Maschera della Morte Rossa di Edgar Allan Poe, ma c’è anche qualcosa de Il vento di Victor Sjöström andando verso il finale.

Le musiche di Jim Williams, compositore che ha affiancato Ducournau in Raw e Titane (ma anche il buon Brandon Cronenberg per Possessor), sono una delle parti più belle di Alpha, accompagnano lo spettatore dai momenti più dolci a quelli più genuinamente disturbanti, spesso si fondono al battito del cuore della giovane protagonista.

Insomma, Alpha è la conclusione di una trilogia atipica, un film che riflette sul passato e sulla perdita, mostrando allo spettatore che tipo di dolore si prova nel lasciar andare qualcuno, nel raccogliere il coraggio di chiudere un cerchio per sempre. Alpha è una tela macchiata di lacrime, inchiostro e sangue, dipinta da Ducournau con il coraggio e la consapevolezza del suo cinema come divisivo e polarizzante. E il coraggio è sempre qualcosa da ammirare.

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Renata Capanna,
Redattrice.

June 26, 2025
Recensione Hurry Up Tomorrow – In arte Abel

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Da oltre dieci anni, The Weeknd, nome d’arte di Abel Tesfaye, si è velocemente ritagliato un ruolo di primissimo piano nel panorama musicale mainstream, dimostrandosi uno degli artisti più mutevoli e ambiziosi della sua generazione. Capace di attraversare e mescolare generi diversi, ha saputo far evolvere la sua scrittura, passando dalle confessioni oscure e intime degli esordi a veri e propri concept sulla fama, la solitudine e la decadenza. Nel tempo, The Weeknd ha trasformato il suo percorso artistico in qualcosa che va ben oltre la musica. La sua ossessione per l’estetica e per la narrazione visiva lo ha portato a immaginare ogni canzone come parte di un racconto più ampio, vicino al linguaggio del cinema. I suoi videoclip, sempre più ambiziosi, ne sono la prova più lampante.

Hurry Up Tomorrow si configura come un’estensione visiva dell’ultimo album omonimo dell’artista canadese, che torna ad interpretare se stesso a sei anni di distanza da Diamanti Grezzi (2019). In questo caso però non si limita a una breve apparizione all’interno di una discoteca di New York, dove cantava The Morning e si faceva di cocaina con Julia Foxx, ma ne è il protagonista assoluto, oltre che produttore e co-sceneggiatore.

Se in Diamanti Grezzi eravamo nel 2012, dove il “neonato” The Weeknd era agli albori della sua fama, in Hurry Up Tomorrow siamo invece nel 2025, dove ritroviamo un artista da oltre 60 miliardi di stream e sette tour mondiali all’attivo.

Nel film, diretto da Trey Edward Shults (It Comes at Night, Waves), Abel è tormentato dall’insonnia e dalla depressione. Distrutto dalla fine della sua relazione e dalla perdita della voce, trova piccoli sprazzi di conforto attraverso Lee, il suo manager (Barry Keoghan), che ne è complice nei vizi e nell’autodistruzione. L’incontro con Anima (Jenna Ortega), una giovane fan enigmatica, lo trascinerà in un viaggio surreale tra incubi, deliri e ricordi sepolti, in cui sarà costretto a fare i conti con la parte più profonda di sé stesso.

Sia Lee che Anima non sono semplici personaggi secondari, ma vere e proprie rappresentazioni del mondo interiore di Abel, incarnazioni opposte e complementari della sua psiche. Lee rappresenta il lato più oscuro e narcisistico dell’artista: è l’emanazione dei vizi, dell’ego ipertrofico, dell’onnipotenza che accompagna la celebrità (“you’re not human, man!”) e che porta Abel a usare e manipolare gli altri per il proprio piacere, convinto di poter controllare tutto e tutti – persone, relazioni, destino. È il volto seducente e distruttivo dell’auto-compiacimento.

Anima, invece, è la manifestazione della sua parte più profonda, fragile ed emotiva. Seguendo la teoria junghiana, incarna la componente femminile inconscia della psiche maschile, quella che Abel ha soffocato dietro il personaggio pubblico, ma che continua a riemergere come voce di verità, vulnerabilità e bisogno d’amore autentico.

Il film manca però di una linea narrativa solida, sacrificata – per scelta – sull’altare di un onirismo esasperato e di un’estetica ipersensoriale che, se funziona dal lato visivo – e non sempre -, dall’altro fatica a trovare una collocazione coerente all’interno del racconto.

La regia di Shults è ricca di trovate stilistiche: cambi di formato, movimenti di macchina virtuosistici, luci stroboscopiche, giochi di montaggio (montaggio curato dallo stesso regista). Elementi che però finiscono per far sembrare il film un video-album travestito da lungometraggio, una sorta di seguito a The Dawn FM Experience (2022). Tutto si muove all’insegna di un’estetica che si compiace di sé stessa, dove il film sembra più interessato alla forma che al contenuto, fallendo quindi nel costruire qualsiasi tipo di connessione emotiva con il protagonista.

Anche quel duello psichico tra Lee e Anima, all’inizio tra gli spunti più interessanti del film e che ne rimane, a mio avviso, uno dei punti forti, tende a svuotarsi con l’avanzare del film di ambiguità e complessità, scivolando, in una scena in particolare, verso il didascalico. E lo stesso vale per l’utilizzo di alcuni brani dell’album, inseriti non tanto come parte organica del racconto, quanto come evidenti sottolineature (Drive che parte dopo che Abel dice al suo autista di “guidare e basta”).

L’unica vera forza trainante del film è la prova di Jenna Ortega, che riesce nell’ardua impresa di rendere credibile un personaggio ridotto dalla sceneggiatura ad un simbolo parlante. Barry Keoghan non ha lo spazio necessario per emergere pienamente, intrappolato in un ruolo abbastanza stereotipato e che non concede, insieme al minutaggio, grandi margini di sviluppo. Dopo The Idol, Abel “The Weeknd” Tesfaye si riconferma, purtroppo, inadatto a sostenere un ruolo da protagonista. Forse ancora ancorato alla dimensione del videoclip, appare costantemente fuori luogo, tanto da non risultare credibile persino nel ruolo di sé stesso.

Forse, nelle intenzioni iniziali, c’era davvero la volontà di dare un volto e una voce ai propri demoni interiori, un percorso che Tesfaye aveva già intrapreso nei suoi video musicali. Ma alla resa dei conti, tutto sembra finire per orientarsi più verso l’autocelebrazione che verso l’autenticità. Anche il tanto atteso climax, che dovrebbe rappresentare una catarsi – o meglio una rinascita – si riduce a una pseudo-confessione egoriferita, in cui Abel informa il pubblico di come anche dietro le sue hit da classifica si nascondano veri e propri traumi e sofferenze.

Quello che dovrebbe essere un percorso di smascheramento interiore finisce per essere un esercizio di auto-mitizzazione, più interessato a preservare il personaggio che a distruggerlo.

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Simone Pagano,
Redattore.

June 25, 2025
Recensione Elio – Leggero come le stelle

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L’infinitamente piccolo e l’infinitamente grande. La ricetta della Pixar è ben nota da trent’anni, sempre capace di conquistare i più piccoli e far scendere una lacrima, o più di una (vero, sequenza iniziale di Up?) agli adulti, ieri come oggi. Nel caso di Elio, l’infinitamente grande è là fuori, a portata di telescopio. È ciò che ci schiaccia nella solitudine quando ci troviamo di fronte a un universo di possibilità, troppo grande per noi soli.

Figlio di un cambio di regia in corsa (dall’originale Adrian Molina a Madeline Sharafian e Domee Shi, quest’ultima già regista di Red) e di ritardi e rinvii nella produzione, Elio non sembra arrivato esattamente sotto i migliori auspici; in un periodo in cui l’animazione mainstream americana ha cominciato a virare verso nuove strade.

La vita, l’universo e tutto quanto

Elio è completamente solo nell’universo. Da poco orfano di entrambi i genitori e affidato alla zia Olga, maggiore di stanza in una base militare, Elio trascorre le solitarie giornate nella speranza di venire rapito dagli alieni, che cerca di contattare in tutti i modi. Quando infine ci riesce, il primo contatto lo porta nella sede del Comuniverso, una sorta di organizzazione galattica dove Elio, spacciatosi leader della Terra, si sentirà finalmente a casa. Ma la (millantata) carica comporta delle responsabilità: su tutte, fermare i distruttivi piani di Lord Grigon, a capo di una specie di bellicosissimi alieni un po’ Klingon, un po’ Imperatore Zurg da Toy Story, in realtà enormi tardigradi con altrettanto enormi problemi con le figure genitoriali.

Come dicono in un precedente capolavoro Pixar ambientato tra Terra e stelle, “c’è tanto spazio nello Spazio”. Fin troppo, per un bambino con poca autostima, vessato dai bulli e senza un vero amico. Ma se, là fuori, ci fossero altre creature altrettanto smarrite e sole come te?

C’è qualcuno?

Un contesto – la sede del Comuniverso – che riunisce le più strane creature, ognuna con la sua specificità. Il viaggio spaziale di Elio sembra l’occasione perfetta per sfoggiare un po’ di muscoli sul dispiego di mezzi, ma anche per esibire quella vena sperimentale che aveva reso i vari stadi della psiche di Inside Out così variegati e interessanti da visitare. Non appena Elio sbarca nel Comuniverso, il film lascia appena subodorare il brivido della scoperta che, da sempre nei film Pixar, fa leva sulla diversità degli ambienti e dei personaggi. E così è, almeno all’inizio: grazie soprattutto ad alcuni personaggi particolarmente azzeccati, tra cui il computer con tutte le risposte a tutte le domande dell’Universo (senso della vita compreso!) e all’adorabile Glordon, il figlio di Lord Grigon, che diventa il migliore amico di Elio. Ma la sua presenza nella storia dura poco, e così la maggior parte delle peculiarità della galassia di Elio, esplorate in fretta e raramente recuperate. Elio ci porta fino alle stelle, ma non molto oltre: il cuore del film è alle sue spalle.

Presentato il nocciolo del conflitto con Lord Grigon, Elio (personaggio e film) vengono catturati in una storia di formazione perfettamente convenzionale anche se, non per questo, banale. Tutt’altro: il cuore è sempre presente al centro di questa storia di solitudini e lutto. Un ragazzino, il suo migliore amico alieno, una figura di genitore adottivo in crisi: la Pixar ha saputo costruire grandi capolavori con molto meno. Questa volta, con tutto lo spazio a disposizione, ha invece intrecciato un racconto volutamente in minore, spesso scombinato nel ritmo, troppo lento a partire e fin troppo veloce nello svolgimento, ma sempre profondamente sincero nel mostrare il cuore dei personaggi.

Consigliato ridurre le aspettative, quindi? Non necessariamente. Per citare un altro appassionato di alieni, “la verità è la fuori”; ma, per una volta, è altrettanto interessante (se non di più) cercarla anche qui, a livello del suolo, preferendo uno sguardo iper-ravvicinato alle ampie vedute del cosmo.

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Valentino Feltrin,
Redattore.

June 23, 2025
Recensione Tre amiche – Il mondo delle relazioni tra verità e bugie

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Emmanuel Mouret torna a esplorare il mondo delle relazioni con Tre amiche, presentato in concorso alla 81ª Mostra internazionale d’arte cinematografica di Venezia.

Alice (Camille Cottin), Rebecca (Sara Forestier) e Joan (India Hair), tre insegnati lionesi molto legate, si trovano ad affrontare l’intricato universo dei sentimenti: la prima è sposata con Éric (Grégoire Ludig), ma non lo ha mai amato; la seconda sta con un uomo già impegnato; la terza ha deciso di lasciare suo marito Victor (Vincent Macaigne). Proprio da questa rottura scaturiranno le vicissitudini che si svolgeranno nell’arco narrativo.

Le protagoniste sono molto differenti tra loro e hanno un modo diverso di vivere i legami. L’intero racconto si posa sul carattere dissimile delle donne, che si consigliano a vicenda trovandosi spesso in situazioni piuttosto ambigue.

Molti rapporti si basano sulla menzogna, veicolo di cui il film si serve per muovere le figure di questa storia. Nessuno è mai completamente sincero e la bugia serpeggia tra tutti, pronta a rompere un equilibrio sempre troppo precario.

La sceneggiatura, scritta dallo stesso regista insieme a Carmen Leroi, poggia le sue basi su un gioco del non detto, su una gara a nascondere verità troppo scomode.

Una scrittura semplice ed elegante riesce a donarci una visione di insieme che si intreccia e si scioglie continuamente, ripetendosi e aggrovigliandosi senza sosta.

Attraverso una comicità dolceamara scopriamo che l’amore è fragile, incerto e occasionalmente imprevisto.

È interessante l’utilizzo della voce narrante, Macaigne è una presenza-assenza costante nel lungometraggio, racconta i fatti da interno e simultaneamente da esterno, spostandosi nel tempo e rendendo le scene molto più animate.

Victor è un osservatore sia silente che parlante, si mette in discussione in quanto persona che darà vita agli eventi. Bisogna guardare da fuori per raggiungere delle consapevolezze che dentro erano impossibili da afferrare, ma a volte la soluzione arriva tardi, quando non può più essere d’aiuto.

Mouret ci propone delle coppie leggere, talvolta superficiali, che non vogliono saperne della profondità, ma desiderano adagiarsi su quella “felice complessità” di cui parlava il libro del vicino Thomas (Damien Bonnard), senza alcuna intenzione di “aggiungere dolore al dolore”. Ogni tanto però spunta il senso di colpa, che inibisce e crea un freno immaginario difficile da sbloccare.

Una regia dinamica ci fa entrare nella complicata esistenza di queste quarantenni confuse attraverso frequenti zoom sui loro volti, sequenze ambientate in case piene di oggetti che le rappresentano e una città che diventa parte integrante del tutto, come sottolinea il voice over all’inizio.

I ponti, i palazzi, i musei e i parchi di Lione si fanno spazio nelle inquadrature, fungendo non solo da sfondo, ma da fulcro essenziale degli avvenimenti.

Una luce naturale illumina le strade di un posto raffinato e poetico, che si adatta perfettamente a questa trama.

Tre amiche ci insegna che gli incontri amorosi si impongono, non lasciano scelta, come se ognuno vi inciampasse senza volerlo. Gli errori si compiono in quasi tutti i passi, ma sono utili per imparare, o forse no.

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Maria Cagnazzo,
Redattrice.

June 21, 2025
Recensione Volveréis – Una storia d’amore quasi classica – Il cinema al servizio di una separazione

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Nel 1843 Søren Kierkegaard sosteneva che “l’unico amore felice è quello della ripetizione. Al pari dell’altro non conosce l’inquietudine della speranza, la sfida angosciosa della scoperta, ma in più gli è ignota la mestizia del ricordo – ha la sicurezza beata dell’istante”. Su questo concetto insiste Volveréis – Una storia d’amore quasi classica di Jonás Trueba, presentato al Festival di Cannes 2024 e premiato alla Quinzaine des Cinéastes.

In una Madrid di fine estate la regista Ale (Itasaso Arana) e l’attore Alex (Vito Sanz) hanno deciso di lasciarsi dopo 15 anni di relazione, ma affrontano la rottura con serenità e pensano di celebrarla con una grande festa, che si terrà nell’ultimo giorno della bella stagione, il periodo più nostalgico dell’anno. Su tali premesse si basa un film apparentemente semplice che invece indaga le connessioni umane adoperando il cinema stesso come mezzo.

L’elemento meta-cinematografico è preponderante nella vicenda: stiamo assistendo a eventi reali o alla messa in scena della macchina da presa? Continuiamo a porci questa domanda comprendendo però che non c’è una linea di demarcazione tra la verità raccontata e quella accaduta, il confine tra la sala e la vita è decisamente labile, i due mondi non possono essere scissi.

In una società complessa in continuo mutamento anche i rapporti si evolvono e così Trueba ci trascina in questa fine mai amara, sempre vestita di quiete e pace. Siamo di fronte a una coppia perfetta e simbiotica, mai sapremo i motivi che li hanno spinti all’allontanamento. I loro amici li ritenevano un modello da seguire, un esempio che adesso non ha più ragion d’essere.

Perfino lo spettatore, accolto in una casa piena di libri e di memorie, osserva una quotidianità che sembra non avere pretesti per rompersi.

La sceneggiatura è colma di dialoghi che non danno mai una svolta alla trama, ma che sono essenziali per approfondire i personaggi. La ripetitività è fondamentale: i due continuano a ribadire di stare bene, quasi come un mantra, quasi per convincersi che sia vero.

Non avvengono trasformazioni, non vi sono grandi cambiamenti, sono le conversazioni e i fatti ad alimentare il motore del racconto. Non si vuole insegnare nulla e non c’è alcuna intenzione di sorprendere, l’obiettivo è solo quello di descrivere una situazione plausibile.

Ripensare al passato, vivere il presente o elevarsi al futuro? Queste opzioni si pongono dinanzi a loro continuamente, anche attraverso i tarocchi di Bergman (menzionato in più occasioni).

Le carte aiutano a immaginare quello che sarà, a distinguere un domani in cui non esisterà più un “noi”, in cui le certezze conservate tra gli scaffali colmi di oggetti si posizioneranno in grossi scatoloni, pronte a trasformarsi, a sciogliere due facce identiche (non è un caso la scelta dei nomi dei protagonisti) per renderle diverse e indipendenti.

La sequenza con Fernando Trueba (padre di Jonás nella realtà e di Ale nella finzione) è probabilmente la più significativa, in quanto si esplicita il fulcro sul quale posa il lungometraggio. Viene qui citato Stanely Cavell, il filosofo statunitense secondo il quale l’autenticità di un matrimonio è verificabile nel momento in cui risulta impossibile divorziare.

L’idea della possibilità di un ritorno si ripropone in tutto l’arco narrativo, dal titolo alle continue affermazioni fiduciose di conoscenti e parenti. Tornare ancora, ripercorrere gli stessi passi è utile? Può essere necessario? Forse lo scopriremo nel finale.

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Maria Cagnazzo,
Redattrice.

June 18, 2025