FRAMES CINEMA

Tag: black cinema

  • Recensione Judas and the Black Messiah – L’ultimo orizzonte del Black Cinema

    type=”flex” hundred_percent=”no” hundred_percent_height=”no” min_height=”” hundred_percent_height_scroll=”no” align_content=”stretch” flex_align_items=”flex-start” flex_justify_content=”flex-start” flex_column_spacing=”” hundred_percent_height_center_content=”yes” equal_height_columns=”no” container_tag=”div” menu_anchor=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” status=”published” publish_date=”” class=”” id=”” link_color=”” link_hover_color=”” border_sizes=”” border_sizes_top=”” border_sizes_right=”” border_sizes_bottom=”” border_sizes_left=”” border_color=”” border_style=”solid” spacing_medium=”” margin_top_medium=”” margin_bottom_medium=”” spacing_small=”” margin_top_small=”” margin_bottom_small=”” margin_top=”” margin_bottom=”” padding_dimensions_medium=”” padding_top_medium=”” padding_right_medium=”” padding_bottom_medium=”” padding_left_medium=”” padding_dimensions_small=”” padding_top_small=”” padding_right_small=”” padding_bottom_small=”” padding_left_small=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=”” box_shadow=”no” box_shadow_vertical=”” box_shadow_horizontal=”” box_shadow_blur=”0″ box_shadow_spread=”0″ box_shadow_color=”” box_shadow_style=”” z_index=”” overflow=”” 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=”” background_position=”center center” background_repeat=”no-repeat” fade=”no” background_parallax=”none” enable_mobile=”no” parallax_speed=”0.3″ background_blend_mode=”none” video_mp4=”” video_webm=”” video_ogv=”” video_url=”” video_aspect_ratio=”16:9″ video_loop=”yes” video_mute=”yes” video_preview_image=”” absolute=”off” absolute_devices=”small,medium,large” sticky=”off” sticky_devices=”small-visibility,medium-visibility,large-visibility” sticky_background_color=”” sticky_height=”” sticky_offset=”” sticky_transition_offset=”0″ scroll_offset=”0″ animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” 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″ filter_blur_hover=”0″][fusion_builder_row][fusion_builder_column type=”1_1″ layout=”1_1″ align_self=”auto” content_layout=”column” align_content=”flex-start” content_wrap=”wrap” spacing=”” center_content=”no” link=”” target=”_self” min_height=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” sticky_display=”normal,sticky” class=”” id=”” type_medium=”” type_small=”” order_medium=”0″ order_small=”0″ dimension_spacing_medium=”” dimension_spacing_small=”” dimension_spacing=”” dimension_margin_medium=”” dimension_margin_small=”” margin_top=”” margin_bottom=”” padding_medium=”” padding_small=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=”” hover_type=”none” border_sizes=”” border_color=”” border_style=”solid” border_radius=”” box_shadow=”no” dimension_box_shadow=”” box_shadow_blur=”0″ box_shadow_spread=”0″ box_shadow_color=”” box_shadow_style=”” 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=”” background_image_id=”” background_position=”left top” background_repeat=”no-repeat” background_blend_mode=”none” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” filter_type=”regular” 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″ filter_blur_hover=”0″ last=”true” border_position=”all” first=”true”][fusion_text columns=”” column_min_width=”” column_spacing=”” rule_style=”default” rule_size=”” rule_color=”” content_alignment_medium=”” content_alignment_small=”” content_alignment=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” sticky_display=”normal,sticky” class=”” id=”” font_size=”” fusion_font_family_text_font=”” fusion_font_variant_text_font=”” line_height=”” letter_spacing=”” text_color=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=””]

    Sin dagli anni ‘80, con gli esordi di registi come Spike Lee e John Singleton, il cosiddetto Black cinema ha trovato nuova vita, lasciandosi alle spalle la blaxploitation della decade precedente e aprendosi a nuovi orizzonti e grandi ambizioni. Negli ultimi dieci anni, in particolare, una nuova generazione di autori (Ryan Coogler, Barry Jenkins, Ava DuVernay, Jordan Peele…) ha dato nuova linfa a questo cinema, che occupa un ruolo sempre più centrale nell’industria hollywoodiana, raccogliendo spesso ampi consensi e successi (“Black Panther”, in tal senso, è un film epocale e già pienamente storicizzato). In questo contesto si inserisce alla perfezione “Judas and the Black Messiah” di Shaka King, ennesimo film che si assume il compito di raccontare una pagina oscura delle lotte per i diritti civili degli afroamericani.

    [fusion_imageframe image_id="1804|full" max_width="" sticky_max_width="" style_type="" blur="" stylecolor="" hover_type="none" bordersize="" bordercolor="" borderradius="" align_medium="none" align_small="none" align="none" lightbox="no" gallery_id="" lightbox_image="" lightbox_image_id="" alt="Il regista Shaka King" link="" linktarget="_self" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" margin_top="" margin_right="" margin_bottom="" margin_left="" class="" id="" animation_type="" animation_direction="left" animation_speed="0.3" animation_offset="" 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" filter_blur_hover="0"]https://framescinemawebzine.com/wp-content/uploads/2021/04/RECENSIONE-MALCOLM-MARIE2-2.png[/fusion_imageframe][fusion_text columns="" column_min_width="" column_spacing="" rule_style="default" rule_size="" rule_color="" content_alignment_medium="" content_alignment_small="" content_alignment="" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" font_size="" fusion_font_family_text_font="" fusion_font_variant_text_font="" line_height="" letter_spacing="" text_color="" animation_type="" animation_direction="left" animation_speed="0.3" animation_offset=""]

    Il regista Shaka King

    [fusion_text columns=”” column_min_width=”” column_spacing=”” rule_style=”default” rule_size=”” rule_color=”” content_alignment_medium=”” content_alignment_small=”” content_alignment=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” sticky_display=”normal,sticky” class=”” id=”” font_size=”” fusion_font_family_text_font=”” fusion_font_variant_text_font=”” line_height=”” letter_spacing=”” text_color=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=””]

    La pellicola inizia a Chicago nel 1967 quando Fred Hampton, leader della sezione dell’Illinois delle Pantere Nere, fonda la cosiddetta Rainbow Coalition, che pone fine alle rivalità tra i vari movimenti socialisti e anti-capitalisti della città e li riunisce tutti, nel tentativo di riuscire finalmente ad imporre un vero cambiamento sociale. L’FBI allora infiltra nell’organizzazione il giovane criminale William O’Neal, incaricandolo di fornirgli informazioni sulle attività del movimento e di Hampton in particolare.

    [fusion_imageframe image_id="1806|full" max_width="" sticky_max_width="" style_type="" blur="" stylecolor="" hover_type="none" bordersize="" bordercolor="" borderradius="" align_medium="none" align_small="none" align="none" lightbox="no" gallery_id="" lightbox_image="" lightbox_image_id="" alt="Lakeith Stanfield nei panni di William O'Neal" link="" linktarget="_self" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" margin_top="" margin_right="" margin_bottom="" margin_left="" class="" id="" animation_type="" animation_direction="left" animation_speed="0.3" animation_offset="" 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" filter_blur_hover="0"]https://framescinemawebzine.com/wp-content/uploads/2021/04/RECENSIONE-MALCOLM-MARIE4-2.png[/fusion_imageframe][fusion_text columns="" column_min_width="" column_spacing="" rule_style="default" rule_size="" rule_color="" content_alignment_medium="" content_alignment_small="" content_alignment="" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" font_size="" fusion_font_family_text_font="" fusion_font_variant_text_font="" line_height="" letter_spacing="" text_color="" animation_type="" animation_direction="left" animation_speed="0.3" animation_offset=""]

    Lakeith Stanfield nei panni di William O’Neal, il “giuda” della pellicola.

    [fusion_text columns=”” column_min_width=”” column_spacing=”” rule_style=”default” rule_size=”” rule_color=”” content_alignment_medium=”” content_alignment_small=”” content_alignment=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” sticky_display=”normal,sticky” class=”” id=”” font_size=”” fusion_font_family_text_font=”” fusion_font_variant_text_font=”” line_height=”” letter_spacing=”” text_color=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=””]

    Il film è un dramma storico ben strutturato e scritto con garbo, che si avvale della bella fotografia di Sean Bobbitt (collaboratore fisso di Steve McQueen) e della messa in scena classica e sicura di King per raccontare al meglio una delle pagine più nere della storia dell’FBI. Il Bureau, guidato da un mefistofelico J. Edgar Hoover (impersonato da un irriconoscibile Martin Sheen), è il vero villain del film ed è raccontato in tutti i suoi meschini meccanismi. La forza della pellicola, che risulta godibile pur senza particolari guizzi, sta però tutta nelle interpretazioni dei protagonisti e nel modo in cui il regista inquadra i loro corpi. Daniel Kaluuya, sorprendente protagonista di “Scappa – Get Out” interpreta Hampton con straordinaria incisività (consigliatissima la visione in lingua originale, visto il gran lavoro svolto dall’attore proprio sulla parlata) ed è bravissimo a passare dal carisma dirompente dei comizi politici alla esitante sensibilità dei colloqui con la fidanzata Deborah Johnson.

    [fusion_imageframe image_id="1808|full" max_width="" sticky_max_width="" style_type="" blur="" stylecolor="" hover_type="none" bordersize="" bordercolor="" borderradius="" align_medium="none" align_small="none" align="none" lightbox="no" gallery_id="" lightbox_image="" lightbox_image_id="" alt="Daniel Kaluuya nei panni di Fred Hampton" link="" linktarget="_self" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" margin_top="" margin_right="" margin_bottom="" margin_left="" class="" id="" animation_type="" animation_direction="left" animation_speed="0.3" animation_offset="" 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" filter_blur_hover="0"]https://framescinemawebzine.com/wp-content/uploads/2021/04/RECENSIONE-MALCOLM-MARIE1-2.png[/fusion_imageframe][fusion_text columns="" column_min_width="" column_spacing="" rule_style="default" rule_size="" rule_color="" content_alignment_medium="" content_alignment_small="" content_alignment="" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" font_size="" fusion_font_family_text_font="" fusion_font_variant_text_font="" line_height="" letter_spacing="" text_color="" animation_type="" animation_direction="left" animation_speed="0.3" animation_offset=""]

    Daniel Kaluuya nei panni di Fred Hampton, il “Black Messiah” del film. Una performance straordinaria che probabilmente gli varrà l’Oscar come miglior attore non protagonista.

    [fusion_text columns=”” column_min_width=”” column_spacing=”” rule_style=”default” rule_size=”” rule_color=”” content_alignment_medium=”” content_alignment_small=”” content_alignment=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” sticky_display=”normal,sticky” class=”” id=”” font_size=”” fusion_font_family_text_font=”” fusion_font_variant_text_font=”” line_height=”” letter_spacing=”” text_color=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=””]

    Dominique Fishback, che la interpreta con grande dolcezza, gioca sulla propria fisicità formosa e sulla propria pelle vagamente butterata per dar vita al corpo e all’anima del personaggio forse più bello del film: una donna che porta in grembo una vita ed è innamorata sì di una causa politica, ma anche del proprio uomo che ogni giorno dichiara di essere pronto a morire per i propri ideali. Shaka King, pur impegnato a mettere in scena il dramma storico, dissemina il film di scene intime, in cui i personaggi (e gli attori) rivelano il meglio di sé.

    [fusion_imageframe image_id="1807|full" max_width="" sticky_max_width="" style_type="" blur="" stylecolor="" hover_type="none" bordersize="" bordercolor="" borderradius="" align_medium="none" align_small="none" align="none" lightbox="no" gallery_id="" lightbox_image="" lightbox_image_id="" alt="Daniel Kaluuya nei panni di Fred Hampton e Dominique Fishback nei panni di Deborah Johnson, la fidanzata di Hampton." link="" linktarget="_self" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" margin_top="" margin_right="" margin_bottom="" margin_left="" class="" id="" animation_type="" animation_direction="left" animation_speed="0.3" animation_offset="" 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" filter_blur_hover="0"]https://framescinemawebzine.com/wp-content/uploads/2021/04/RECENSIONE-MALCOLM-MARIE3-2.png[/fusion_imageframe][fusion_text columns="" column_min_width="" column_spacing="" rule_style="default" rule_size="" rule_color="" content_alignment_medium="" content_alignment_small="" content_alignment="" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" font_size="" fusion_font_family_text_font="" fusion_font_variant_text_font="" line_height="" letter_spacing="" text_color="" animation_type="" animation_direction="left" animation_speed="0.3" animation_offset=""]

    Daniel Kaluuya nei panni di Fred Hampton e Dominique Fishback nei panni di Deborah Johnson, la fidanzata di Hampton.

    [fusion_text columns=”” column_min_width=”” column_spacing=”” rule_style=”default” rule_size=”” rule_color=”” content_alignment_medium=”” content_alignment_small=”” content_alignment=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” sticky_display=”normal,sticky” class=”” id=”” font_size=”” fusion_font_family_text_font=”” fusion_font_variant_text_font=”” line_height=”” letter_spacing=”” text_color=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=””]

    All’appello a questo punto manca solo il Giuda del titolo: William O’Neal, interpretato anch’egli alla grande da Lakeith Stanfield, che dà vita a un antieroe cupo e dubbioso, con cui lo spettatore entra in empatia anche di fronte al tradimento commesso. I suoi dubbi e la sua incapacità di esimersi dalla colpa più grande non lasciano indifferenti.

    “Judas and the Black Messiah” rimane dunque complessivamente un significativo tassello all’interno dell’itinerario del black cinema contemporaneo di impronta storica e rappresenta soprattutto una bella occasione per ammirare un cast di giovani attori al massimo del loro talento.

    [fusion_imageframe image_id="1805|full" max_width="" sticky_max_width="" style_type="" blur="" stylecolor="" hover_type="none" bordersize="" bordercolor="" borderradius="" align_medium="none" align_small="none" align="none" lightbox="no" gallery_id="" lightbox_image="" lightbox_image_id="" alt="Cast" link="" linktarget="_self" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" margin_top="" margin_right="" margin_bottom="" margin_left="" class="" id="" animation_type="" animation_direction="left" animation_speed="0.3" animation_offset="" 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" filter_blur_hover="0"]https://framescinemawebzine.com/wp-content/uploads/2021/04/RECENSIONE-MALCOLM-MARIE6-1.png[/fusion_imageframe][fusion_separator style_type="none" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" flex_grow="0" top_margin="5" bottom_margin="45" width="" alignment="center" border_size="2" sep_color="#a31600" icon="" icon_size="" icon_color="" icon_circle="" icon_circle_color="" /][fusion_youtube id="sSjtGqRXQ9Y" alignment="center" width="" height="" autoplay="false" api_params="" hide_on_mobile="small-visibility,medium-visibility,large-visibility" class="" css_id="" /][fusion_separator style_type="none" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" flex_grow="0" top_margin="5" bottom_margin="45" width="" alignment="center" border_size="2" sep_color="#a31600" icon="" icon_size="" icon_color="" icon_circle="" icon_circle_color="" /][fusion_separator style_type="single solid" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" flex_grow="0" top_margin="5" bottom_margin="45" width="" alignment="center" border_size="2" sep_color="#a31600" icon="" icon_size="" icon_color="" icon_circle="" icon_circle_color="" /][fusion_testimonials design="classic" navigation="no" speed="" backgroundcolor="" textcolor="" random="" hide_on_mobile="small-visibility,medium-visibility,large-visibility" class="" id=""][fusion_testimonial name="Jacopo Barbero" avatar="image" image="https://framescinemawebzine.com/wp-content/uploads/2021/04/frames-cinema.com3_.png" image_id="1640|full" image_border_radius="" company="Caporedattore." link="https://framescinemawebzine.com/redazione" target="_blank"]

    Questo articolo è stato scritto da:

    [/fusion_testimonial][/fusion_testimonials]

  • Recensione One Night in Miami… – Esordio alla regia di Regina King

    type=”flex” hundred_percent=”no” hundred_percent_height=”no” min_height=”” hundred_percent_height_scroll=”no” align_content=”stretch” flex_align_items=”flex-start” flex_justify_content=”flex-start” flex_column_spacing=”” hundred_percent_height_center_content=”yes” equal_height_columns=”no” container_tag=”div” menu_anchor=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” status=”published” publish_date=”” class=”” id=”” link_color=”” link_hover_color=”” border_sizes=”” border_sizes_top=”” border_sizes_right=”” border_sizes_bottom=”” border_sizes_left=”” border_color=”” border_style=”solid” spacing_medium=”” margin_top_medium=”” margin_bottom_medium=”” spacing_small=”” margin_top_small=”” margin_bottom_small=”” margin_top=”” margin_bottom=”” padding_dimensions_medium=”” padding_top_medium=”” padding_right_medium=”” padding_bottom_medium=”” padding_left_medium=”” padding_dimensions_small=”” padding_top_small=”” padding_right_small=”” padding_bottom_small=”” padding_left_small=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=”” box_shadow=”no” box_shadow_vertical=”” box_shadow_horizontal=”” box_shadow_blur=”0″ box_shadow_spread=”0″ box_shadow_color=”” box_shadow_style=”” z_index=”” overflow=”” 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=”” background_position=”center center” background_repeat=”no-repeat” fade=”no” background_parallax=”none” enable_mobile=”no” parallax_speed=”0.3″ background_blend_mode=”none” video_mp4=”” video_webm=”” video_ogv=”” video_url=”” video_aspect_ratio=”16:9″ video_loop=”yes” video_mute=”yes” video_preview_image=”” absolute=”off” absolute_devices=”small,medium,large” sticky=”off” sticky_devices=”small-visibility,medium-visibility,large-visibility” sticky_background_color=”” sticky_height=”” sticky_offset=”” sticky_transition_offset=”0″ scroll_offset=”0″ animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” 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″ filter_blur_hover=”0″][fusion_builder_row][fusion_builder_column type=”1_1″ layout=”1_1″ align_self=”auto” content_layout=”column” align_content=”flex-start” content_wrap=”wrap” spacing=”” center_content=”no” link=”” target=”_self” min_height=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” sticky_display=”normal,sticky” class=”” id=”” type_medium=”” type_small=”” order_medium=”0″ order_small=”0″ dimension_spacing_medium=”” dimension_spacing_small=”” dimension_spacing=”” dimension_margin_medium=”” dimension_margin_small=”” margin_top=”” margin_bottom=”” padding_medium=”” padding_small=”” padding_top=”” padding_right=”” padding_bottom=”” padding_left=”” hover_type=”none” border_sizes=”” border_color=”” border_style=”solid” border_radius=”” box_shadow=”no” dimension_box_shadow=”” box_shadow_blur=”0″ box_shadow_spread=”0″ box_shadow_color=”” box_shadow_style=”” 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=”” background_image_id=”” background_position=”left top” background_repeat=”no-repeat” background_blend_mode=”none” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” filter_type=”regular” 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″ filter_blur_hover=”0″ last=”true” border_position=”all” first=”true”][fusion_text columns=”” column_min_width=”” column_spacing=”” rule_style=”default” rule_size=”” rule_color=”” content_alignment_medium=”” content_alignment_small=”” content_alignment=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” sticky_display=”normal,sticky” class=”” id=”” font_size=”” fusion_font_family_text_font=”” fusion_font_variant_text_font=”” line_height=”” letter_spacing=”” text_color=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=””]

    Miami, 25 febbraio 1964: Cassius Clay viene incoronato campione del mondo dei pesi massimi e, in seguito, si ritrova in un motel con il celebre attivista Malcolm X, il cantante Sam Cooke e il campione di football americano Jim Brown. Quella che avrebbe dovuto essere una serata di festeggiamenti tra amici sfocia in un’accesa discussione sul futuro della comunità afroamericana.

    [fusion_youtube id=”K8vf_Cmh9nY” alignment=”center” width=”” height=”” autoplay=”false” api_params=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” class=”” css_id=”” /][fusion_text columns=”” column_min_width=”” column_spacing=”” rule_style=”default” rule_size=”” rule_color=”” content_alignment_medium=”” content_alignment_small=”” content_alignment=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” sticky_display=”normal,sticky” class=”” id=”” font_size=”” fusion_font_family_text_font=”” fusion_font_variant_text_font=”” line_height=”” letter_spacing=”” text_color=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=””]

    Trailer del film d’esordio alla regia di Regina King.

    [fusion_text columns=”” column_min_width=”” column_spacing=”” rule_style=”default” rule_size=”” rule_color=”” content_alignment_medium=”” content_alignment_small=”” content_alignment=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” sticky_display=”normal,sticky” class=”” id=”” font_size=”” fusion_font_family_text_font=”” fusion_font_variant_text_font=”” line_height=”” letter_spacing=”” text_color=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=””]

    Tratto dalla pièce teatrale di Kemp Powers (co-regista e sceneggiatore di “Soul”) e da lui stesso adattato, immagina l’incontro tra quattro personaggi storici che furono realmente amici e che giocarono, ognuno a modo proprio, un ruolo importante nelle lotte della comunità black. Regina King esordisce alla regia e ha il grande merito di essere riuscita a rendere la pellicola piuttosto dinamica e a darle sapore cinematografico: il film non è mai eccessivamente statico o claustrofobico e non risente, come talvolta accade, della propria origine teatrale.

    [fusion_imageframe image_id="1787|full" max_width="" sticky_max_width="" style_type="" blur="" stylecolor="" hover_type="none" bordersize="" bordercolor="" borderradius="" align_medium="none" align_small="none" align="none" lightbox="no" gallery_id="" lightbox_image="" lightbox_image_id="" alt="Regina King" link="" linktarget="_self" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" margin_top="" margin_right="" margin_bottom="" margin_left="" class="" id="" animation_type="" animation_direction="left" animation_speed="0.3" animation_offset="" 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" filter_blur_hover="0"]https://framescinemawebzine.com/wp-content/uploads/2021/04/RECENSIONE-MALCOLM-MARIE1-1.png[/fusion_imageframe][fusion_text columns="" column_min_width="" column_spacing="" rule_style="default" rule_size="" rule_color="" content_alignment_medium="" content_alignment_small="" content_alignment="" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" font_size="" fusion_font_family_text_font="" fusion_font_variant_text_font="" line_height="" letter_spacing="" text_color="" animation_type="" animation_direction="left" animation_speed="0.3" animation_offset=""]

    La regista Regina King.

    [fusion_text columns=”” column_min_width=”” column_spacing=”” rule_style=”default” rule_size=”” rule_color=”” content_alignment_medium=”” content_alignment_small=”” content_alignment=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” sticky_display=”normal,sticky” class=”” id=”” font_size=”” fusion_font_family_text_font=”” fusion_font_variant_text_font=”” line_height=”” letter_spacing=”” text_color=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=””]

    Grande è inoltre l’intuizione di aprire il racconto con quattro sequenze brevi ma fondamentali ambientate nel 1963, tramite le quali lo spettatore familiarizza con i singoli protagonisti e ne comprende la situazione sociale. Da metà film in poi, invece, ci si trasferisce al motel e la forza della sceneggiatura di Powers sta nel sottolineare il conflitto tra Malcolm X e Sam Cooke, che hanno idee diametralmente opposte su come la lotta per i diritti civili vada condotta e sul rapporto da intrattenere con i bianchi.

    [fusion_text columns=”” column_min_width=”” column_spacing=”” rule_style=”default” rule_size=”” rule_color=”” content_alignment_medium=”” content_alignment_small=”” content_alignment=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” sticky_display=”normal,sticky” class=”” id=”” font_size=”” fusion_font_family_text_font=”” fusion_font_variant_text_font=”” line_height=”” letter_spacing=”” text_color=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=””]

    Il primo, tra i leader del movimento afroamericano della Nazione dell’Islam, sostiene la necessità di prendere una posizione netta contro i bianchi (li chiama “diavoli”) e vorrebbe che ognuno dei tre amici sfruttasse il proprio ascendente e divenisse un’arma al servizio della lotta (anche violenta, se necessario) per reclamare i propri diritti. Proprio per questo Malcolm cerca in ogni modo di convincere Cassius Clay (appena assurto a leggenda del pugilato e quindi detentore di uno straordinario prestigio) a diventare musulmano e ad unirsi alla Nazione dell’Islam e, al contrario, critica proprio Sam Cooke.

    [fusion_imageframe image_id="1788|full" max_width="" sticky_max_width="" style_type="" blur="" stylecolor="" hover_type="none" bordersize="" bordercolor="" borderradius="" align_medium="none" align_small="none" align="none" lightbox="no" gallery_id="" lightbox_image="" lightbox_image_id="" alt="Kingsley Ben-Adir nei panni di Malcolm X" link="" linktarget="_self" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" margin_top="" margin_right="" margin_bottom="" margin_left="" class="" id="" animation_type="" animation_direction="left" animation_speed="0.3" animation_offset="" 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" filter_blur_hover="0"]https://framescinemawebzine.com/wp-content/uploads/2021/04/RECENSIONE-MALCOLM-MARIE4-1.png[/fusion_imageframe][fusion_text columns="" column_min_width="" column_spacing="" rule_style="default" rule_size="" rule_color="" content_alignment_medium="" content_alignment_small="" content_alignment="" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" font_size="" fusion_font_family_text_font="" fusion_font_variant_text_font="" line_height="" letter_spacing="" text_color="" animation_type="" animation_direction="left" animation_speed="0.3" animation_offset=""]

    Kingsley Ben-Adir nei panni di Malcolm X.

    [fusion_text columns=”” column_min_width=”” column_spacing=”” rule_style=”default” rule_size=”” rule_color=”” content_alignment_medium=”” content_alignment_small=”” content_alignment=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” sticky_display=”normal,sticky” class=”” id=”” font_size=”” fusion_font_family_text_font=”” fusion_font_variant_text_font=”” line_height=”” letter_spacing=”” text_color=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=””]

    Quest’ultimo, cantante di successo, sogna invece di esibirsi con successo al Copacabana (celebre locale “bianco” di New York) ed è pronto anche a subire delle umiliazioni pur di riuscire un giorno ad essere accettato e acclamato anche dal pubblico bianco. Cooke è un borghese che combatte la sua lotta per i diritti tramite il proprio successo professionale: possiede un’etichetta di musica “nera” ed è economicamente indipendente da qualsiasi padrone. Malcolm lo critica perché spreca il suo talento in “ruffianate”, Cooke al contrario sogna di “entrare nel cuore dei bianchi” e di vincere così la propria battaglia per l’integrazione.

    [fusion_imageframe image_id="1789|full" max_width="" sticky_max_width="" style_type="" blur="" stylecolor="" hover_type="none" bordersize="" bordercolor="" borderradius="" align_medium="none" align_small="none" align="none" lightbox="no" gallery_id="" lightbox_image="" lightbox_image_id="" alt="Leslie Odom Jr. nei panni di Sam Cooke" link="" linktarget="_self" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" margin_top="" margin_right="" margin_bottom="" margin_left="" class="" id="" animation_type="" animation_direction="left" animation_speed="0.3" animation_offset="" 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" filter_blur_hover="0"]https://framescinemawebzine.com/wp-content/uploads/2021/04/RECENSIONE-MALCOLM-MARIE2-1.png[/fusion_imageframe][fusion_text columns="" column_min_width="" column_spacing="" rule_style="default" rule_size="" rule_color="" content_alignment_medium="" content_alignment_small="" content_alignment="" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" font_size="" fusion_font_family_text_font="" fusion_font_variant_text_font="" line_height="" letter_spacing="" text_color="" animation_type="" animation_direction="left" animation_speed="0.3" animation_offset=""]

    Leslie Odom Jr. nei panni di Sam Cooke.

    [fusion_text columns=”” column_min_width=”” column_spacing=”” rule_style=”default” rule_size=”” rule_color=”” content_alignment_medium=”” content_alignment_small=”” content_alignment=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” sticky_display=”normal,sticky” class=”” id=”” font_size=”” fusion_font_family_text_font=”” fusion_font_variant_text_font=”” line_height=”” letter_spacing=”” text_color=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=””]

    Sono due prospettive differenti, sulle quali Powers e la King costruiscono un complesso dibattito ideologico, mai banale e soprattutto estremamente attuale (pensiamo a Black Lives Matter). Al buon risultato complessivo contribuiscono quattro attori in forma smagliante che, grazie anche alla regia classica ma sicura, vedono le proprie sensibili performance esaltate. “Quella notte a Miami…” è, in definitiva, uno dei più significativi risultati di quel black cinema che negli ultimi anni sta tornando ad occupare un posto di assoluto rilievo nello scenario produttivo statunitense. Potrebbe dire la sua anche agli Oscar (a proposito, cliccate qui per leggere le nostre previsioni).

    [fusion_imageframe image_id="1790|full" max_width="" sticky_max_width="" style_type="" blur="" stylecolor="" hover_type="none" bordersize="" bordercolor="" borderradius="" align_medium="none" align_small="none" align="none" lightbox="no" gallery_id="" lightbox_image="" lightbox_image_id="" alt="I protagonisti del film" link="" linktarget="_self" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" margin_top="" margin_right="" margin_bottom="" margin_left="" class="" id="" animation_type="" animation_direction="left" animation_speed="0.3" animation_offset="" 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" filter_blur_hover="0"]https://framescinemawebzine.com/wp-content/uploads/2021/04/RECENSIONE-MALCOLM-MARIE3-1.png[/fusion_imageframe][fusion_text columns="" column_min_width="" column_spacing="" rule_style="default" rule_size="" rule_color="" content_alignment_medium="" content_alignment_small="" content_alignment="" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" font_size="" fusion_font_family_text_font="" fusion_font_variant_text_font="" line_height="" letter_spacing="" text_color="" animation_type="" animation_direction="left" animation_speed="0.3" animation_offset=""]

    La recensione che avete letto era stata pubblicata originariamente sulla nostra pagina Instagram, il formato è dunque pensato più per quel social network che per un sito web.

    [fusion_testimonials design="classic" navigation="no" speed="" backgroundcolor="" textcolor="" random="" hide_on_mobile="small-visibility,medium-visibility,large-visibility" class="" id=""][fusion_testimonial name="Jacopo Barbero" avatar="image" image="https://framescinemawebzine.com/wp-content/uploads/2021/04/frames-cinema.com3_.png" image_id="1640|full" image_border_radius="" company="Caporedattore" link="https://framescinemawebzine.com/redazione" target="_self"]

    Questo articolo è stato scritto da:

    [/fusion_testimonial][/fusion_testimonials][fusion_separator style_type="single solid" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" flex_grow="0" top_margin="5" bottom_margin="45" width="" alignment="center" border_size="2" sep_color="#a31600" icon="" icon_size="" icon_color="" icon_circle="" icon_circle_color="" /]