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Tag: ayo edebiri

  • Recensione After the Hunt – Tutti parlano, tutti fingono

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    Inizia con una strizzata d’occhio a Woody Allen e finisce con un epilogo incomprensibile ma iconograficamente molto statunitense After the Hunt – Dopo la caccia dell’italiano Luca Guadagnino, nelle sale italiane dal 16 ottobre dopo la presentazione fuori concorso a Venezia, forse uno dei film più stratificati e dibattuti dell’intero festival.

    Con protagonisti in grande spolvero Julia Roberts, Ayo Edebiri, Andrew Garfield, Michael Stuhlbarg e Chloë Sevigny, After the Hunt racconta di una professoressa universitaria (Roberts) in un momento cruciale della sua vita personale e professionale, quando una studentessa modello (Edebiri) muove delle accuse verso uno dei suoi colleghi (Garfield).

    Stati Uniti e altre finzioni colossali

    È quantomeno interessante che dopo aver messo in scena colossali finzioni con la Città del Messico di Queer ricostruita a Cinecittà e la Berlino Est di Suspiria girata a Varese, il nuovo film di Luca Guadagnino sia ambientato a Yale, in una delle università più simboliche degli Stati Uniti (ma filmato a Cambridge, un’altra colossale finzione). Pur essendo italiano, Guadagnino produttivamente ha sposato Hollywood, proponendo tematiche senza dubbio care al suo universo: After the Hunt è un film su molestie e abusi nei luoghi pubblici, anche se poi parla di filosofia, psicanalisi, questioni di genere, posti di lavoro, differenze di classe e generazionali, ipocrisie grandi quanti un‘università e soprattutto parla degli Stati Uniti di oggi.

    Sì, After the Hunt parla degli Stati Uniti nel post #MeToo, in questo clima epurato (lo è davvero?) dopo la caccia che dà il titolo al film. Non è un caso che i film di Woody Allen degli anni ‘80 e ‘90 siano tra le ispirazioni dichiarate dal regista (del 1992 è l’accusa di Mia Farrow a Woody Allen di aver abusato della figlia adottiva Dylan): è mai stata chiarita la vicenda Allen? Sarà mai chiarito dove sta la verità nel caso Edebiri-Garfield del film? Qualche suggerimento c’è, ma non sapremo mai come sono andate le cose: non serve, l’importante è che ne sia parlato.

    Tante parole e tanto rumore

    E in effetti After the Hunt parla, parla tantissimo, parla anche più del necessario. Guadagnino ha il solito problema di quei 20 minuti di troppo, farciti soprattutto all’inizio e a metà di improbabili sproloqui filosofici più mirati ad elevare culturalmente il film che non utili alla trama. Rendere impegnati(vi) i dialoghi era probabilmente un cruccio della sceneggiatrice Nora Garrett, attrice qui alla prima esperienza di scrittura, che ha finito per presentare un film spesso troppo verboso e talvolta persino irritante, in cui è difficile empatizzare con qualunque dei personaggi (tranne Stuhlbarg, che nei film dí Guadagnino ha spesso il ruolo del grillo parlante).

    C’è sempre grande rumore di fondo nelle scene in cui i personaggi parlano di cose importanti, si confrontano sui punti nevralgici del film. Suoni della strada, rumori di lavori, musica intradiegetica ad altissimo volume e score tuonante (di Trent Reznor e Atticus Ross alla quarta collaborazione col regista) che irrompe nella narrazione. A Venezia alcuni lamentarono questo aspetto, a chi recensisce pare fosse tutto parte di un design sonoro molto acuto, che restituiva l’idea del grande caos di questi tempi, il rumore continuo in cui tutti parlano parlano parlano e dove è sempre più difficile capire cosa dica l’altro. Tutto questo vale nella versione in lingua originale, non certamente nell’edizione italiana che, un po’ per tradizione e un po’ per probabile mala interpretazione della scelta sonora, ha abbassato i livelli dei rumori e reso molto meno vibranti (e più noiosi) i dialoghi.

    A questo grande caos si contrappongono poche momenti di silenzio, scanditi dal ticchettio di un orologio, all’inizio nel raccontarci la vita della protagonista fino ai capovolgimenti che avvieranno la trama (ma attenzione, perché quei due minuti racchiudono tutto il film), e durante lo svolgimento per segnalare situazioni di stress in cui il mondo intorno scompare, ma senza darci pace. Molto ovattati anche gli attimi in cui la macchina da presa si concentra sulle mani dei protagonisti, forse sono più sincere delle parole?

    Let them talk 

    In un film in cui ognuno racconta e smentisce continuamente la propria versione, vale la pena riportare anche ciò che in conferenza stampa Julia Roberts ha risposto alla giornalista che le aveva domandato se questo film non rappresentasse una regressione o una svalutazione della denuncia alle molestie. Secondo l’attrice, a importare non è tanto quale sia l’opinione su questi temi da parte di chi ha fatto il film, ma più che altro che di questi temi se ne parli.

    E di After the Hunt si parlerà, perché mette prima di tutto due mondi a confronto, la generazione Z di Edebiri che sfoggia in continuazione di sé stessa e i propri traumi senza mai pensare che la generazione X di Roberts tutti quei bocconi amari li mandava giù perché parte del pacchetto. Il personaggio di Edebiri non è solo giovane, ma è anche una donna nera in un mondo post #BlackLivesMatter. Il terreno era affollato ed evidentemente scivoloso, ma stavolta Guadagnino è rimasto perfettamente in bilico, come sa fare lui, accontentando e al contempo scontentando tutti. And cut!

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    Enrico Borghesio,
    Redattore.

  • Recensione Opus – Il nuovo A24 che brilla di luce altrui

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    Opus – Venera la tua stella è l’ultima opera cinematografica di produzione di A24, che conferma ancora una volta la capacità della casa di distribuzione di dare spazio a visioni autoriali interessanti e complesse. 

    Il film, uscito nelle sale il 27 marzo 2025, è anche la prima opera dell’anno distribuita da IWonder Pictures, che grazie a un accordo stipulato con A24 porterà ogni loro singola distribuzione internazionale sul grande schermo in Italia, donando a noi spettatori un’accessibilità più immediata e sicura a titoli più particolari che magari avrebbero dovuto fare a gomitate per potersi permettere una distribuzione theatrical. Sulla scia delle vittorie di Anora, il cinema indipendente e creativamente fiorente ha la via spianata per il resto del 2025.

    Il soggetto di Opus – Venera la tua stella è di Mark Anthony Green, che al suo debutto alla regia offre una riflessione audace sul culto delle celebrità e sull’ossessione per la perfezione artistica. Il film narra il ritorno sulle scene di Alfred Moretti (interpretato da John Malkovich), un’icona musicale che, dopo decenni di assenza, annuncia un nuovo album, attirando l’attenzione di una giovane giornalista irrealizzata di nome Ariel Ecton (Ayo Edebiri).

    Green, con una carriera come scrittore e giornalista per GQ alle spalle, attinge alle proprie esperienze nel mondo del giornalismo musicale per costruire un racconto che esplora le dinamiche tra artisti, media e pubblico.  È anche grazie alle sue connessioni con il mondo della musica contemporanea americana che il regista riesce a inserire due brevissimi cameo di celebrità note al grande pubblico come Lil Nas X e Lenny Kravitz, oltre alle varie citazioni alla cultura pop soprattutto degli anni settanta. 

    Tutte personalità assolutamente non fuori luogo, perché è di culto di celebrità affermate che si parla e se ne critica un sistema che ci coinvolge tutti: dal basso (la platea, rappresentata da titoli di testa semplici, ma d’impatto) all’alto (la celebrità, rappresentata da questa figura mistica dalle abitudini decisamente bizzarre). Un vero proprio schema a piramide che si pone come analogia del culto e, più nel particolare, della setta. 

    Opus – Venera la tua stella perde però il suo iniziale splendore – accompagnato dalla colonna sonora firmata Nile Rodgers (ex membro dei Chic) – venendo ben presto soffocato sotto la marea di film che lo hanno preceduto negli ultimi anni. Il regista, a sua detta, ha impiegato più di sei anni a sviluppare la sceneggiatura e a trovare il produttore adeguato, facendoci chiedere – visto il risultato parecchio mediocre – se non sia solamente una scusa per giustificare il fatto che non si possa accusare di riciclaggio di idee. Inutile fare finta che questo film non sia la copia dei vari spunti alla base di The Menu, magari con l’aggiunta di qualche pantalone a zampa di elefante.

    Si potrebbe persino accettare il riciclaggio di idee (alla fine un Midsommar andava anche bene rivisitarlo nell’America contemporanea), ma quel che ne rimane sono ossa o poco più: Opus – Venera la tua stella è purtroppo insipido anche dal punto di vista intrattenitivo. Non porta nulla di nuovo, e si esce dalla proiezione con la sensazione di essere gli stessi di quando si era entrati.

    Gli si può quasi riconoscere, al contrario, la difficoltà nell’individuare il protagonista dell’opera: è Alfred Moretti, come figura al centro di tutto e cima della piramide, oppure è Ariel, giovane giornalista in cui ci identifichiamo come spettatori in quanto realista e unica fonte di volontà critica e sociale? 

    O ancora: è l’attore John Malkovich, auto-citazionista e auto-critico nella raccolta della semina archetipica fatta con Essere John Malkovich nel lontano 1999, oppure Ayo Edebiri, stella in ascesa nel panorama hollywoodiano che si prende il tempo del film per mettersi in guardia dal futuro che le aspetta come attrice?

    È proprio in questa dicotomia di dubbi che sorge il senso della narrazione. Chi è il vero protagonista e, di conseguenza, chi è il vero colpevole nel momento in cui il culto porta all’espansione del potere della persona sbagliata? Ha più colpe l’idolo o ciò che lo definisce tale? Questa è la riflessione che fa nascere nello sguardo finale di Ayo Edebiri il regista Mark Anthony Green, in uno scambio di ruoli finale che riflette una società irrimediabilmente ipocrita e arrivista. 

    Un tema ipoteticamente interessante, ma mai veramente approfondito in maniera innovativa (e pensare che il regista ha scritto trecento pagine e più di “libro blu” per comprenderne le dinamiche…) in un’opera prima che non fa che essere utile a una cosa sola: a ricordarci non tanto quali sono i film da non fare, ma piuttosto come non farli. È solo un tentativo di ricalcare un modello stilistico che ormai ha già fatto il suo corso e che ha bisogno di scavare nell’animo dei registi – di questi tempi d’intelligenza artificiale più che mai – per trovare quel qualcosa che ce ne faccia uscire spettatori cambiati.

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    Lara Ioriatti,
    Redattrice.

  • Recensione Bottoms – Sovversione grottesca della teen comedy

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    Presentato alla scorsa edizione del South by Southwest e dopo aver attraversato un percorso festivaliero con ricezione critica straordinariamente positiva, Bottoms arriva in Italia direttamente su piattaforma caricato di legittime aspettative, montate non solo dalle critiche entusiastiche ma soprattutto dalle menti creative dietro alle folli premesse di questo film, annunciato come la commedia dell’anno.

    Si tratta del secondo lungometraggio di Emma Seligman che ritorna dopo il suo fulminante esordio, Shiva Baby, a collaborare con l’attrice feticcio Rachel Sennott – questa volta anche in veste di sceneggiatrice e produttrice esecutiva – a sua volta riunita con Ayo Edebiri, metà del duo comico che aveva già esordito su Comedy Central. Due fuoriclasse dell’improvvisazione, circondate da un cast che si rivela solidissimo – Kaia Gerber libera tutta la sua energia da supermodella e diventa un catalizzatore di attenzione nei pochi minuti di presenza sullo schermo – accompagnate da una colonna sonora che spazia dall’hyperpop di Charlie XCX all’origine del pop punk con Avril Lavigne  per un Fight Club gay che incontra la satira e il gusto per l’assurdo di Heathers.

    Non c’è quindi bisogno di sottolineare ulteriormente i motivi per i quali fossi sicura che avrei amato Bottoms. Qualcosa però è andato perso durante la visione e mi sono trovata a chiedermi cosa mi fosse sfuggito quando probabilmente avrei solo dovuto divertirmi di più. Una sceneggiatura a tratti brillante, punchline caustiche già parte dell’iconografia dei migliori teen movie – una tra tutte “Holocaust, It did happen.” pronunciata da un memorabile insegnante di storia interpretato dall’ex star dell’NFL Marshawn Lynch-  non bastano a dare una direzione a un film che vuole essere troppe cose alla volta, vittima di un’indecisione narrativa di fondo. 

    Proseguendo una tendenza già inaugurata negli ultimi anni da teen comedy come Booksmart, anche in Bottoms si parte da un gender swap, il capovolgimento dei ruoli di genere come li avevamo conosciuti durante gli anni d’oro del genere. La coppia di amici al fondo della piramide sociale che agli sgoccioli dell’avventura liceale si imbarca nella missione di perdere la verginità con le ragazze più popolari non è più al maschile. Cambia il genere ma non gli stilemi, non c’è alcuna intenzione di adattare i toni che mantengono scorrettezza e  scurrilità anche nelle parole pronunciate da bocche femminili. Qui le liceali sfigate sono PJ e Josie, meglio conosciute come le “ugly, untalented gays”, amiche da sempre che, per far colpo sulle due cheerleader bellissime e inarrivabili per cui hanno una cotta e che puntualmente gravitano intorno ai bicipiti dei giocatori di football, si ritrovano a fondare un club scolastico di autodifesa tutto al femminile. L’emancipazione e il non farsi trovare impreparate alle violenze che il match di football con la squadra rivale porta con sé, chiaramente sono tutte scuse.

    Il contesto scolastico è popolato da personaggi maschili volontariamente macchiettistici, da Ken privati di autoconsapevolezza, in balia dei propri muscoli e immolati alla causa dello sport che incarna il male assoluto. In questo clima, l’inclusività e il femminismo sono valori ignorati anche da chi ne dovrebbe beneficiare maggiormente come a sottolineare l’ipocrisia con cui certi temi vengono sbandierati senza alcuna profondità unicamente per raggiungere i propri scopi. Le ragazze nel doposcuola si prendono a pugni, calci, la vena più pulp del film si accentua man mano che il contatto fisico si fa più spinto; la rabbia che passa attraverso il corpo diventa mezzo per l’empowerment, mentre in sottofondo si alternano battute sulle stragi nelle scuole e sulla violenza di genere che certamente sottolineano un acume e una sottigliezza inedite fino ad ora nel genere.

    Con il trascorrere dei minuti Bottoms si abbandona all’anarchia, dona ai propri personaggi femminili la libertà di fare scelte assurde, totalmente sopra le righe ma per quanto funzioni tutto in teoria, la pratica non sempre segue. L’equilibrio tra drammaturgia e improvvisazione si sbilancia eccessivamente nei confronti di quest’ultima, manca una caratterizzazione più profonda dei personaggi che espanda anche il contesto extra scolastico in cui si muovono e la virata grottesca sacrifica un ragionamento più approfondito sull’esplosione di violenza finale. Bottoms rimane comunque un film legato a doppio filo con il presente, per il presente, capace di catturare in qualche modo uno zeitgeist, aggiungendo elementi per tracciare il percorso artistico che Emma Seligman sembra voler intraprendere.

    Che abbia convinto o no, non si può che rimanere comunque estremamente curiosi.

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    Silvia Alberti,
    Redattrice.