FRAMES CINEMA

Tag: 2024

  • Recensione Piccole cose come queste – Un dramma raccontato in penombra

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    Una camera segue costantemente un uomo e i suoi silenzi, tra pochi luoghi e tanta oscurità: così si sviluppa Piccole cose come queste, l’ultimo film di Tim Mielants presentato in concorso al Festival di Berlino del 2024.

    Tratto dall’omonimo romanzo di Claire Keegan e sceneggiato da Enda Walsh, il lungometraggio racconta dei soprusi perpetrati nelle case Magdalene, istituti religiosi irlandesi nei quali venivano mandate giovani donne con una condotta giudicata “peccaminosa”. Il tema era stato toccato nel 2002 da Peter Mullan con Magdalene, vincitore del Leone d’oro a Venezia, a sua volta ispirato al documentario del 1998 Sex in a cold climate di Steve Humphries. Mielants però ne parla in una forma molto più intimista, accompagnandoci in una storia in cui le parole risultano superflue e le immagini non necessitano di didascalie.

    Ambientata nel Natale del 1985 nella Contea di Wexford, la vicenda si focalizza su Bill Furlong (Cillian Murphy), un venditore di carbone che abita con la moglie (Eileen Walsh) e cinque figlie. Ritrovatosi a effettuare una consegna presso il convento locale, assisterà involontariamente agli abusi compiuti dalle suore e vivrà un dissidio interiore ripensando alla sua infanzia.

    La recitazione di Murphy (che figura come produttore insieme a Matt Damon e Ben Affleck) rappresenta il fulcro di tutta la narrazione: Bill sospira continuamente, ha l’espressione persa nel vuoto e i pensieri rivolti a un tempo lontano in cui sua madre avrebbe potuto subire la stessa sorte toccata alle ragazze maltrattate. I dialoghi sono volutamente scarni, e lo spettatore deve osservare il protagonista e guardare attraverso i suoi occhi, aspettando l’esito di un conflitto morale che si fa largo passo dopo passo.

    Il fantasma dei Natali passati bussa alla porta del carbonaio, trattenendolo in un precario equilibrio tra la sua giovinezza e il suo presente. Dickens torna due volte, sia con Canto di Natale che con David Copperfield, proprio perché probabilmente Piccole cose come queste vuole essere una parabola minimalista, delicata e semplice, pur trattando un argomento tanto doloroso.

    La fotografia, curata da Frank van den Eeden, è particolarmente cupa, tra stanze chiaroscure e ambienti notturni, perfettamente in linea con l’angoscia e la sensazione di impotenza vissute dal personaggio principale.

    Le spalle e la testa di Bill vengono inquadrate in penombra mentre osserva dalla finestra la sua cittadina, nella quale l’omertà si sostituisce all’onestà e i buoni sentimenti di facciata non corrispondono alle azioni. L’ignoranza e la superficialità regnano in una comunità in cui la chiesa è al vertice e Furlong non riesce ad attenersi al cinismo dal quale è circondato.

    Tornato da una giornata di lavoro lava meticolosamente le mani nere, come per pulire una colpa che non è sua, come per scacciare la memoria di un periodo sbiadito ma ancora indelebile.

    La superiora Suor Mary (Emily Watson) finge benevolenza con uno sguardo spiritato, illuminata dalla sola luce del camino. La breve apparizione dell’attrice (che ha vinto l’Orso d’argento per questo ruolo) risulta parecchio efficace, quasi una presenza infernale che si impone emanando un senso di inquietudine e di allerta.

    Nonostante il dramma affrontato, il regista mantiene un livello di calma illusoria in tutte le sequenze, inducendoci ad attendere i flashback, unici momenti in cui ritroviamo un guizzo imprevisto.

    Per tale ragione solo il Bill bambino è in grado di scuotere l’animo dell’adulto, conducendolo in un viaggio sommesso nella sua coscienza.

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    Maria Cagnazzo,
    Redattrice.

  • 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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z_index_hover="" overflow="" background_type="single" gradient_start_color="" gradient_end_color="" gradient_start_position="0" gradient_end_position="100" gradient_type="linear" radial_direction="center center" linear_angle="180" background_color="" background_image="" lazy_load="avada" skip_lazy_load="" background_position="left top" background_repeat="no-repeat" background_blend_mode="none" render_logics="" sticky="off" sticky_devices="small-visibility,medium-visibility,large-visibility" sticky_offset="" absolute="off" absolute_top="" absolute_right="" absolute_bottom="" absolute_left="" filter_type="regular" filter_hover_element="self" filter_hue="0" filter_saturation="100" filter_brightness="100" filter_contrast="100" filter_invert="0" filter_sepia="0" filter_opacity="100" filter_blur="0" filter_hue_hover="0" filter_saturation_hover="100" filter_brightness_hover="100" filter_contrast_hover="100" filter_invert_hover="0" filter_sepia_hover="0" filter_opacity_hover="100" 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    Nicolò Cretaro,
    Redattore.

  • Recensione Back to Black – La vita privata di Amy Winehouse

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    Il punto di partenza consigliato per scoprire la vita e la carriera di Amy Winehouse è Amy (2015) di Asif Kapadia, un folgorante documentario realizzato con materiale found footage, il miglior modo per raccontare dall’interno la sfortunata vita di Amy Winehouse, dalla sua ascesa irriverente e fuori dagli schemi al suo prematuro epilogo, il 23 luglio 2011, causato da abuso di alcol, droghe e da anni di bulimia non curata.

    Cosa può accadere se la regista di 50 sfumature di grigio (2015), Sam Taylor-Johnson, mette mano su del materiale così profondo e allo stesso tempo delicato? I problemi dei biopic contemporanei, sempre più frequenti in ambito hollywoodiano, sono la semplificazione, l’eccessiva mitizzazione, il trascurare le ombre dei personaggi presi in questione e, molto più spesso, il non riuscire a restituire l’anima dell’artista per via di una piattezza realizzativa, che rende un prodotto facilmente equiparabile all’altro.

    A colpire in Back To Black (2024) è la scelta del focus adottato nel racconto. La sceneggiatura di Matt Greenhalg, non perfetta, caratterizzata da semplificazioni e dialoghi non sempre pienamente centrati, ha un enorme punto di forza: mettere al centro del racconto non la carriera, ma la vita privata di Amy Winehouse, restituendo a pieno l’indole dell’artista londinese, non disposta a farsi plasmare dall’industria, non interessata alla carriera o alla fama, ma alla costante e infruttuosa ricerca di una vita serena, fatta d’amore, affetti e semplicità.

    I flash dei paparazzi che accecano Amy nel corso del film sono la rappresentazione grafica di una discesa della cantante verso meandri che non avrebbe mai voluto esplorare. Se da un lato si trova una ragazza dal talento innato e dalla voce inimitabile, che vede in sua nonna un modello da seguire, che ama il jazz e che dalla sua cameretta lascia trasudare il suo vissuto in canzoni destinate a rimanere eterne, dall’altro emerge tutta l’oscurità che la caratterizza: un rapporto disfunzionale di co-dipendenza con il fidanzato Blake, che la fa sprofondare nel vizio dell’alcolismo, cui si aggiungerà l’uso di sostanze, uniti a una bulimia di cui tutti sembrano consapevoli ma in merito alla quale nessuno sembra in grado di fare qualcosa per aiutarla.

    Il tentativo di entrare nella dimensione privata di Amy Winehouse (è questo che differenzia il film in questione dal documentario del 2015 citato all’inizio della recensione, la cui visione risulta complementare a quella di Back To Black per comprendere le varie sfaccettature dell’icona) a volte si traduce in quadretti abbozzati o in sequenze di montaggio musicale non incisive, altre volte, come nel caso della genesi della canzone Back to black, riesce a unire il dolore per il lutto della fine di una relazione e della morte di una persona cara in modo convincente. Costumi, trucco e parrucco risultano efficaci, soprattutto quando in preda alle sue crisi i costumi sono stropicciati e unti, i capelli non in piega e il trucco colato.

    L’attrice protagonista, Marisa Abela, non possiede fisicamente dei tratti capaci di replicare l’unicità del volto della cantante britannica, ma riesce comunque a dare giustizia allo spirito fuori dagli schemi della Winehouse, alle sue difficoltà e alla sua sofferenza. Il cast di contorno non spicca e alcune scelte di casting, come quella di Blake, interpretato da Jack O’Connell, non risultano pienamente centrate.

    Regia, fotografia e montaggio non riescono a spiccare o ad emergere in modo dirompente dagli standard di prodotti simili, e sembra troppo poco considerando l’esuberante lavoro di Baz Luhrmann nel suo film dedicato a Elvis, incapace di restituire pienamente, per esempio, la tossicodipendenza dell’artista, ma perfettamente in grado di imprimere una forte identità cinematografica nella realizzazione del racconto. Sono pochi gli sprazzi in cui la regia riesce a restituire la turbolenza della vita di Amy e della sua relazione con Blake, mentre, in generale, non deludono le sequenze dei concerti.

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    Alessandro Corrao,
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  • Recensione Priscilla – Una regina nel deserto

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    Piedi smaltati di rosso calpestano una moquette rosa e soffice, arrivano poi le ciglia finte, quella linea distintiva di eyeliner, il rossetto e i capelli cotonati sorretti da una generosa passata di lacca. Quasi non serve che appaia il titolo del film a ricordarci che si tratta di Priscilla perché la sua iconografia, in quel periodo della sua vita, è fissata in una memoria che trascende il trascorrere del tempo. Come accade per altre donne, protagoniste di recenti monografie sul grande schermo – penso a Jackie Kennedy in Jackie, Marilyn Monroe in Blonde, Lady Diana in Spencer – a precederle è la loro immagine, riconoscibile anche senza il loro volto esposto. É sufficiente un’inquadratura di spalle, un dettaglio a sé. Si sa poi che Sofia Coppola, fine ed empatica osservatrice dell’animo umano, nei dettagli è in grado di trovare una verità, rendendola eloquente senza il bisogno di ricorrere a troppe parole.

    Chi fosse realmente la persona dietro quell’immagine, a volte ammirata, altre volte criticata, è la domanda comune posta da questi film. Con Priscilla, Sofia Coppola, basandosi sul memoir del 1985 “Elvis e io” e sui ricordi della stessa Beaulieu – qui anche produttrice esecutiva – non pretende di dare allo spettatore una risposta esaustiva, ma cattura un momento molto preciso e al tempo stesso cruciale della sua vita. Sono memorie personali le lenti attraverso cui abbiamo accesso alla storia. A raccontare quegli anni, la relazione con “Il Re del Rock’n’roll” è una prospettiva soggettiva che non parla di sé ma attraverso la sua protagonista principale.

    Assistiamo quindi a un coming-of-age in cui il passaggio dall’innocenza alla consapevolezza avviene sotto il tetto, tanto alto quanto oppressivo, della residenza di Memphis. La sua adolescenza e la sua crescita coincidono con un’illusione romantica destinata a piegarsi sotto il peso della realtà, perché l’Elvis che abbiamo conosciuto con Baz Luhrmann – vessato dall’ingombrante figura del Colonnello e insoddisfatto dalla sua carriera come attore – soffocava a sua volta ogni istinto di crescita di Priscilla, finendo per imprigionarla in una gabbia dorata nella quale lei esisteva e si muoveva solo in ragione della sua volontà.

    In questa storia convergono così molti degli elementi che hanno caratterizzato il cinema della regista, da sempre interessata alla ricerca sull’identità – Priscilla si è trovata ad avere una relazione con qualcuno che aveva già una fortissima identità quando lei doveva ancora trovare la sua – e a come questa debba essere scoperta dalle giovani donne, nella maggior parte dei casi, da sole. I pomeriggi infiniti scanditi dall’attesa delle telefonate, dalla noia, dalle tante persone intorno e le poche realmente accanto, tutti elementi che compongono un quadro di solitudine e indifferenza ingiustamente scambiate per lentezza e mancanza di ispirazione. La meditazione sulla solitudine nei film di Sofia Coppola non è sterile ma generosa nei confronti dei suoi personaggi perché non li lascia mai dove li ha trovati. Nello stallo e nel dolore c’è spazio per una crescita personale che non sempre può assumere toni squillanti e canonicamente ingaggianti. Il cambiamento è silenzioso ma il grido di liberazione finale no, per quello c’è Dolly Parton.

    La natura della relazione che legava la coppia non era certamente materiale facile da sottoporre al pubblico, ma come non c’è recalcitranza nel ritrarre le storture di un rapporto morboso, oggi ingiustificabile, non manca l’invito a credere nella sincerità con cui è stato vissuto e mai rinnegato. Accantonata la spinta verso il concetto binario di colpa e innocenza, rimane così spazio per le sfumature di una storia avvolta nelle strette morse delle idee di famiglia e femminilità anni ‘50.

    Anni in cui siamo catapultati – mantenendo sempre vivo un aggancio alla contemporaneità grazie alle scelte musicali anacronistiche che sono stilema della Coppola – attraverso il production design che si conferma elemento fondamentale, questa volta con una carica pop più misurata rispetto al precedente Marie Antoinette.

    Ogni elemento diventa corrispettivo per enfatizzare la soggettività di Priscilla e di come questa si relazioni alla situazione che sta vivendo. I colori cambiano dai toni più scuri della Germania e a quelli più vividi di Graceland, il suono si fa più forte e pieno quando Elvis le è accanto, le inquadrature si allargano per ospitare spazi ad oggi inediti – come il famosissimo ritratto di famiglia dove si enfatizza la posizione predominante, su un neanche troppo metaforico trono, mentre lei le rimane accanto ma seduta per terra. La stessa differenza fisica tra i due attori ne è un perfetto esempio.

    Priscilla è un film sussurrato e raffinato, magari non scintillante come i teaser potevano far presagire ma non per questo privo di valore. Suggerito a chi in sala vuole vivere un’esperienza contemplativa.

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z_index_hover="" overflow="" background_type="single" gradient_start_color="" gradient_end_color="" gradient_start_position="0" gradient_end_position="100" gradient_type="linear" radial_direction="center center" linear_angle="180" background_color="" background_image="" lazy_load="avada" skip_lazy_load="" background_position="left top" background_repeat="no-repeat" background_blend_mode="none" render_logics="" sticky="off" sticky_devices="small-visibility,medium-visibility,large-visibility" sticky_offset="" absolute="off" absolute_top="" absolute_right="" absolute_bottom="" absolute_left="" filter_type="regular" filter_hover_element="self" filter_hue="0" filter_saturation="100" filter_brightness="100" filter_contrast="100" filter_invert="0" filter_sepia="0" filter_opacity="100" filter_blur="0" filter_hue_hover="0" filter_saturation_hover="100" filter_brightness_hover="100" filter_contrast_hover="100" filter_invert_hover="0" filter_sepia_hover="0" filter_opacity_hover="100" 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    Silvia Alberti,
    Redattrice.

  • Recensione La zona d’interesse – Isolare l’orrore

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    Lo sguardo del Cinema sulle atrocità della Storia e, in particolare, su quella a noi più prossima – geograficamente e culturalmente – che è l’Olocausto, è sempre stato attraversato da una grande ambiguità di fondo. Da un sottile dubbio sulla effettiva capacità del racconto cinematografico di rendere concepibile la portata del sistematico sterminio di oltre dieci milioni di esseri umani. Neppure un capolavoro (secondo molti, definitivo) come Schindler’s List è stato esente da critiche – vedi l’opposizione di Michael Haneke all’idea di trasformare il racconto dello sterminio e dei suoi responsabili in intrattenimento per le masse -, sull’approccio di Spielberg alla materia storica, che renderebbe – da questo punto di vista – il racconto della tragedia più facilmente assimilabile dal pubblico e proprio per questo a rischio di risultare consolatorio e banalizzato.

    La parola chiave è proprio “sguardo”. È innegabile l’inerente spettacolarizzazione del mezzo Cinema, unito all’umana fascinazione per il Male, e la domanda resta: come lo si raffigura senza banalizzarlo? La zona d’interesse, ultima fatica da regista/sceneggiatore di Jonathan Glazer, tenta di affrontare proprio tale questione.

    La quotidianità del male

    La “zona d’interesse” comprende l’abitazione del tenente colonnello Rudolf Höß (Christian Friedel), primo comandante di Auschwitz e principale responsabile della sua struttura. Rudolf vive con la moglie Hedwig (Sandra Hüller) in una villetta con giardino ricavata a ridosso delle mura del campo di sterminio. Festeggia il suo compleanno in famiglia, porta i figli a nuotare nel fiume vicino e ospita la suocera, orgogliosa del loro successo professionale. Ogni tanto, sullo sfondo, si alza il fumo delle ciminiere o il vapore dei treni in arrivo; ogni tanto, grida, spari ordini penetrano nel rettangolo di Eden che Rudolf e la sua famiglia si sono costruiti.

    La vita quotidiana del re e della regina di Auschwitz, figure prive di particolari vizi o virtù, viene isolata nella loro ritualità lavorativa. Höß non appare più malvagio di un dirigente d’industria particolarmente dedito al proprio lavoro, e organizza il massacro quotidiano di Auschwitz così come Hedwig gestisce il suo regno domestico: con efficienza e precisione.

    Mai si corre il rischio di empatizzare con i loro movimenti psicologici, dominati da una completa e spaventosa apatia nei confronti dello sterminio che avviene quotidianamente a pochi metri da loro, e mai si subisce fascinazione per la loro assoluta mediocrità. Vengono svuotati di qualsiasi connotazione mostruosa, e proprio per questo risultano così vicini a quella malata concezione di normalità che ha reso l’Olocausto possibile in primo luogo.

    Etica dello sguardo

    Non per questo si può dire che Jonathan Glazer tratti la materia storica e i suoi soggetti in chiave naturalistica. Al contrario, mai come in questo caso il mezzo cinema sbatte in faccia allo spettatore le proprie regole, le proprie costruzioni razionalizzanti con l’obiettivo di smascherarne l’implicita artificiosità. Jonathan Glazer segmenta lo spazio in modo parossistico, imprigiona i personaggi e lo spettatore in una monotona successione delle stesse insistite inquadrature, rompe le convenzioni formali per alienare l’immersione dello spettatore e fargli prendere piena consapevolezza della limitatezza degli spazi.

    La forma vive di contrasti e opposizioni (acqua-fuoco, istinto-razionalità). Su tutte, quella tra luce e buio e, per analogia, tra visibile e non visibile. Proprio questo contrasto svela la natura parziale dello sguardo cinematografico rispetto alla realtà e, allo stesso tempo, costringe lo spettatore all’estremo tentativo di superarlo per rivelarne il cuore. La morte, in La zona d’interesse, non si vede mai. È solo il sonoro a rivelare cosa si celi al di là del filo spinato, reale o metaforico: che siano i suoni della morte oltre il muro, la colonna sonora di Mica Levi che colpisce i timpani come un incubo ultraterreno, o uno spartito composto da un prigioniero del campo di concentramento, recuperato dalla partigiana polacca colta nelle sue notturne missioni.

    Il passato e il presente

    Lucida riflessione sulla Storia e sul nostro approccio come spettatori – e come artisti – alla stessa, il film di Jonathan Glazer è già entrato a fare parte del pantheon dei drammi storici obbligatori e si impone sin d’ora come uno dei film migliori dell’anno. Rispetto al romanzo di Martin Amis cui è liberamente ispirato, reintegra i nomi delle persone reali, ma non vuole limitarsi alla fotografia – per quanto accurata – dell’epoca. Le atrocità del passato si dissolvono nel presente, diventano materia da museo o da trattazione storica, e i loro artefici scompaiono nelle ombre della Storia. Per questo è fondamentale andare oltre la forma, individuare le storture della nostra quotidiana indifferenza per non ritrovarci complici inconsapevoli di nuovi e diversi incubi della ragione. Non limitati al passato né a una sola area geografica, non rinchiusi una singola zona d’interesse, ma ovunque nel mondo si ripetano ancora oggi i medesimi orrori.

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    Valentino Feltrin,
    Redattore.