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Tag: asteroid city

  • Adrien Brody – Dualismo esistenziale tra ordine e caos

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    Adrien Brody è uno degli attori più affascinanti del ventunesimo secolo. La sua carriera, segnata da una continua trasformazione, è la manifestazione di un conflitto profondo che riflette l’essenza della natura umana stessa. Questo dualismo tra razionalità e istinto, tra ordine e caos, tra un ruolo drammatico e un ruolo più punk, può essere analizzato attraverso la filosofia di Friedrich Nietzsche, che nel suo pensiero distingue tra due forze archetipiche: l’apollineo e il dionisiaco.

    L’apollineo rappresenta la misura, la forma e la disciplina, mentre il dionisiaco è l’impulso irrazionale, il caos primordiale che scardina le convenzioni. Nei suoi ruoli, Adrien Brody sceglie personaggi che oscillano tra il controllo più rigoroso e l’abbandono totale alla libertà di essere. Che si tratti di un uomo che cerca di mantenere la propria integrità umana durante la Seconda Guerra Mondiale, come nel caso de Il pianista, o di un giovane travolto da desiderio e irrequietezza come in Summer of Sam (l’attore, vestito da punk, incarna qui alla perfezione questa tensione esistenziale tra l’essere e il dovere), Adrien Brody opta sempre per il conflitto umano bipartito, che si tratti di una personale lotta interiore oppure di una scelta di carriera extra-diegetica.

    Andando ad approfondire questa dicotomia filosofica, nel pensiero di Nietzsche l’essere umano — e in particolare l’artista — è il teatro di un conflitto tra armonia ed ebbrezza. Il filosofo però non li percepisce in opposizione morale, ma come due forze necessarie per l’autentica creazione artistica massima. Solamente chi riesce a contenere entrambe queste forze in sé ed è in grado di gestirle può davvero comunicare efficacemente all’animo dell’essere umano, non a caso capacità che ha valso all’attore di origini newyorkersi il suo secondo Premio Oscar.

    Prendendo in esame i suoi ruoli nello specifico, quelli di Brody sono la manifestazione tangibile di questo dualismo: ne Il pianista, ad esempio, Brody interpreta un uomo che tenta di preservare la sua umanità in un contesto di devastazione. La sua performance in questo film rappresenta l’aspetto apollineo: la resilienza nel mezzo delle macerie. Dall’altro lato, in Summer of Sam, uno dei primi joints di Spike Lee ritratto di una New York lacerata dalla violenza negli anni Settanta, Brody esplora il lato più oscuro e impulsivo dell’essere umano, incarnando la tensione dionisiaca. Qui, la sua performance si fa più animalesca e selvaggia, come mai ce la si potrebbe aspettare dal Premio Oscar per Il Pianista: Brody è un punk, la cui ribellione e rapporto caotico di amicizia con il protagonsita riflette il tumulto di quel particolarmente disorientato contesto sociale. In Detachment, invece, il suo personaggio è intrappolato tra la solitudine impostata e il desiderio di connessione emotiva. Il protagonista crede nel testardo e ripetuto tentativo di provare a raggiungere un aspetto dionisiaco che non lo appartiene. La sua disperata utopia è quella di cambiare il mondo a partire dalle singole persone, e vive con sofferenza la sua apparente incapacità di non riuscire nell’intento.

    Ne Il treno per Darjeeling la ricerca di ordine interiore è continuamente minata dal disordine emotivo della sua famiglia. In The French Dispatch come in Asteroid City, Brody esprime con i propri personaggi bizzarri l’impegno razionale contro l’estetica surrealista di Wes Anderson. Il tema del conflitto interiore si riflette anche in Midnight in Paris di Woody Allen. Qui interpreta un personaggio che si confronta con il concetto di nostalgia e il conflitto tra passato e presente. Attraverso l’evocazione che può esprimere la semplice frase “Io vedo… rinoceronti” nei panni di Dalì, emerge la tensione tra un mondo idealizzato e quello reale, in una riflessione sul desiderio di sfuggire dalla realtà e sulle illusioni che ci accompagnano. La pazzia e l’eccentricità come atto ribelle nei confronti dell’ordine della realtà; metafora del cinema in contrapposizione alla quotidianità, ma in particolare del cinema di Wes Anderson (che non a caso a scelto Brody come una delle sue anime ricorrenti), che dipinge opere surreali dai colori audaci su banalissime tele vuote, tristi e quadrate.

    Nel suo repertorio, Summer of Sam di Spike Lee (come simbolo di lancio della sua carriera) e The Brutalist di Brady Corbet (l’Adrien Brody contemporaneo e popolare) offrono un contrasto particolarmente interessante: da un lato il caos anarchico, dall’altro la solitudine rigorosa a favore dell’arte dimostrano quanto Brody sia capace di navigare tra l’ordine e il disordine, tra la disciplina e l’impulso, rappresentando con maestria quella stessa dialettica che Nietzsche riteneva essenziale per la creazione artistica autentica. In The Brutalist, Brody si confronta con un personaggio che riflette più la razionalità e l’ordine, ma che non è privo di conflitti interiori e di cambiamento in corso d’opera. Le scene ambientate in Italia non sono che la più alta rappresentazione del caos che attrae le scelte artistiche dell’attore, quasi fosse allergico alla staticità delle cose e innamorato della naturale evoluzione caotica della vita. Ogni interpretazione è una danza tra l’equilibrio della misura e l’irrompere incontrollabile delle emozioni più forti – spesso anche dolorose, ma che ci rendono umani.

    La sua capacità di navigare tra l’apollineo e il dionisiaco, di trasformarsi senza mai perdere la propria autenticità, è ciò che lo rende uno degli attori più profondi della sua generazione. Possiamo essere certi che qualsiasi ruolo Adrien Brody scelga in futuro avrà a che fare con un tentativo di decifrare sé stessi in rapporto al proprio ruolo con l’ordine o il caos. Ogni interpretazione è una continua evoluzione esistenziale, una riflessione sul conflitto che definisce l’essenza stessa dell’essere umano. 

    A tirare le somme, forse un discorso di autocompiacimento interminabile sul palco degli Oscar se lo può anche concedere.

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    Lara Ioriatti,
    Redattrice.

  • Recensione Asteroid City – L’ultimo film di Wes Anderson

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    Siamo nel deserto, in un luogo distante da noi nello spazio e nel tempo. Asteroid City è una piccola cittadina per scienziati e giovani prodigi, simile a una sorta di Area 51, o magari anche alla Los Alamos di Robert Oppenheimer. È questo il panorama descritto nel nuovo film di Wes Anderson, presentato a Cannes quest’anno e uscito nelle sale italiane il 28 settembre. La sua nuova opera ha da subito polarizzato gli spettatori, dividendo il pubblico tra chi lo attendeva con ansia e chi, partendo prevenuto, temeva di rivedere sempre lo stesso copione riproposto sul grande schermo. Al festival il film aveva ricevuto infatti non poche critiche, accusato proprio di superficialità e mancanza di contenuti, mera espressione del gusto estetico del regista nella costruzione delle inquadrature (giudizio forse più adatto al suo The French Dispatch del 2021 piuttosto che a quest’ultima opera). 

    La pièce teatrale e il non-senso

    Ad Asteroid City si tiene un concorso, il Junior Stargazer, occasione per la quale giungono molti ragazzi accompagnati dai loro genitori. Ritroviamo una pluralità di personaggi che compongono il peculiare quadro della cittadina, tra cui il fotografo di guerra Augie Steenback (Jason Schwartzman), arrivato con suo figlio Woodrow e le sue bambine; l’attrice Midge Campbell (Scarlett Johansson), anche lei mamma di una piccola scienziata; l’insegnante June Douglas (Maya Hawke), il suocero di Steenback Stanley Zak (Tom Hanks), la scienziata Hickenlooper (Tilda Swinton), il direttore di un albergo di cui non conosciamo il nome (Steve Carell) e molti altri. 

    Situazioni vaghe e disparate si susseguono, come le vicende di Steenback con i vari membri della sua famiglia nella fatidica condizione di accettare il lutto di sua moglie. L’incontro di Steenback con Midge Campbell, caratterizzato da un’attrazione reciproca tra i due. I momenti in cui i ragazzi partecipanti al concorso stringono amicizia e infine lo sbarco di un alieno che lascia i cittadini interdetti. C’è un dettaglio in più: la storia di Asteroid City non esiste davvero nell’universo diegetico del regista, bensì è una pièce teatrale di cui conosciamo gli interpreti, consci dei propri ruoli e talvolta perplessi dal senso del copione, il drammaturgo (Edward Norton) il regista e altri membri del cast (Adrien Brody e Willem Dafoe). Ci viene mostrato perfino il dietro le quinte del teatro, mentre il nostro narratore (Bryan Cranston) cerca di chiarificarci la storia proposta. 

    Il significato non va cercato

    È lecito esprimere dubbi in merito a un film che sembra voler apparire inutilmente complesso, con un dramma il cui significato non è chiaro nemmeno ai suoi protagonisti e una costante sovrapposizione di piani narrativi. Ma forse addentrarsi in contorte interpretazioni è una via sbagliata di cogliere quello che il regista cerca di esprimere in Asteroid City. In fondo sono i suoi stessi personaggi, dietro le quinte, che ammettono che un senso non c’è e non serve trovarlo, ma basta andare avanti. Un invito forse a non focalizzarsi sulla razionalità in un mondo (quello creato da Wes Anderson) che dimostra coerenza solo nell’impostazione visiva, ma presenta poi situazioni surreali, personaggi inverosimili ai cui assurdi problemi abbiamo libero accesso. Andando inoltre al di là delle apparenze, oltre la facciata dei sempiterni criteri estetici del regista, è possibile cogliere un distacco dai film precedenti, in una direzione lievemente più cupa.

    Allo stesso modo del film precedente, i personaggi sono piatti, e la loro compostezza non sembra celare profondi contrasti interiori espressi con sarcasmo, o almeno non quanto accadeva nelle sue prime opere. Anzi, con Asteroid City abbiamo il disvelamento esplicito di questa superficialità, l’ammissione che l’universo narrativo non esiste davvero ma è finzione. I personaggi della pièce sono tutti estremamente caratteristici ma generici, quasi come le Maschere della Commedia dell’Arte: ugualmente, non vanno troppo in profondità e restano sul vago a livello di caratterizzazione.

    Wes Anderson e l’arte

    La risonanza avuta dal film anche fuori dalle sale cinematografiche è sicuramente degna di nota. Da subito infatti si sono diffuse le bellissime inquadrature che ritraevano il cast d’eccezione del film, composto quasi interamente da attori affermati e amati dal pubblico e dalla critica (e fedeli colleghi di Wes Anderson). La scena in particolare in cui Scarlett Johansson si trova nella vasca da bagno e ricrea la composizione del quadro La morte di Marat (Jacques-Louis David) è sicuramente uno dei fotogrammi divenuti più celebri del film. Questo legame tra le arti nel lavoro di Wes Anderson viene sancito anche dall’attività sporadica di curatore di mostre del regista, e in questo specifico caso il film è protagonista di un’esposizione temporanea alla Fondazione Prada di Milano dal 23 settembre 2023 al 7 gennaio 2024, dal titolo Wes Anderson – Asteroid City: Exhibition.

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    Gaia Fanelli,
    Redattrice.

  • Asteroid City – Trailer del nuovo film di Wes Anderson

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

    TRAILER ORIGINALE SUB ITA

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

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

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

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

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

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    Enrico Borghesio
    Redattore news