FRAMES CINEMA

Tag: Edoardo borghesio

Damien Chazelle a Torino

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«Grazie Torino, grazie Italia. Sono felice di essere tornato qui, in questa città che ho visitato tanti anni fa quando presentai il mio film d’esordio. Probabilmente, questo è il primo luogo in cui ho pensato: “Bene! Forse posso davvero farcela”». Dopo Kevin Spacey e Tim Burton, un nuovo visionario cineasta ha messo piede a Torino per uno degli incontri più attesi e prestigiosi di sempre. Martedì 24 ottobre Damien Chazelle è stato ospite del Museo del Cinema, dove ha tenuto una masterclass ed è stato insignito del premio Stella della Mole.

Il giovane regista ha dialogato con il Direttore del Museo Domenico De Gaetano e con la critica Grazia Paganelli riguardo a quelle fortunate imprese cinematografiche e opere meticolosamente realizzate che hanno dato il via a un tripudio di sperimentazione e innovazione, dal pluripremiato Whiplash a un musical rivoluzionario come La La Land e all’intensa biopic First Man. Il fastoso dramedy sul passaggio del cinema dal muto al sonoro Babylon, la sua ultima fatica, è stato proiettato al termine della giornata al Cinema Massimo introdotto dal regista ad una platea sold out.

Ritorno a Torino

Damien Chazelle presentò per la prima volta il suo film Guy and Madeline on a Park Bench proprio al Torino Film Festival nel 2009, e fu premiato con il Premio Speciale della Giuria. Il regista ricorda «Il mio era un piccolo film e quasi tutti lo rifiutarono. Probabilmente il TFF fu il primo festival europeo che mi accolse. Ovviamente non ero mai stato a Torino e ricordo l’intera avventura come nuova ed emozionante». Il Direttore Domenico De Gaetano invece esplicita (dal sito del Museo) che «Sin dal suo sorprendente esordio alla regia, Damien Chazelle ha messo in mostra il precoce talento e il suo approccio visionario allo storytelling, esplorando narrazioni innovative e trasportando gli spettatori in un viaggio toccante e coinvolgente».

La Stella della Mole, infatti, è stata consegnata con la seguente motivazione: «Enfant prodige di Hollywood, con il suo precoce talento e il suo approccio innovativo allo storytelling, Damien Chazelle ha superato i confini dei generi tradizionali e creato spettacoli cinematografici di grande impatto visivo e musicale. Trasformando in pura energia storie di personaggi ambiziosi desiderosi di misurarsi con i propri limiti o di perseguire i propri sogni, i suoi film sono la più moderna dichiarazione d’amore per la storia del cinema».

La masterclass

Protagonisti della masterclass sono stati i suoi film e i temi portanti del perfezionismo, l’ambizione, la dedizione, le difficoltà e le sfide che conseguono al raggiungimento del successo. Chazelle sfoglia la propria filmografia scandita da video e domande di De Gaetano e Paganelli: «Leggerezza e malinconia nel mio cinema? Vanno di pari passo. E io ho sempre temuto un piede nella realtà e un altro in un romantico passato. Inoltre, molto spesso i miei film sono sospesi tra realtà e mito. Questo terreno in passato l’ho frequentato inconsapevolmente ma credo mi appartenga nell’intimo».

«La mia esperienza personale è molto simile a quella del mio protagonista. — ammette Chazelle in riferimento al suo primo cult Whiplash — Quando ho cominciato a suonare l’ho fatto per passione, ma devi saper accettare la sofferenza come prezzo per maturare. È come se prima di diventare farfalla tu debba spezzarti le ossa. Almeno nella musica, non sono mai arrivato a essere farfalla purtroppo». Altro carattere fondamentale del cinema di Chazelle è il ritmo: «Anche i miei dialoghi cercano di replicare una partitura musicale. Anzi, ancor prima di scrivere una sceneggiatura ascolto musica che in maniera astratta mi aiuta a comprendere quali emozioni voglio trasmettere nel film e a riempire quella famosa pagina vuota».

Alla proiezione di una scena di La La Land il pubblico applaude, e persino l’autore sembra commuoversi: «Quando qualcuno mi chiede perché non c’è un happy ending, rispondo che forse è perché penso che la vita sia così e il musical è un genere tutt’altro che frivolo. Prima c’è la dimensione del ballo e dell’immaginazione, poi arriva il ritorno alla realtà». Forse l’allunaggio di Neil Armstrong in First Man può sembrare un finale positivo, ma il regista osserva: «Se si pensa al percorso che ha portato alla conquista della Luna, siamo davvero sicuri che lo sia?».

Il giro d’Italia

Quest’anno Damien Chazelle è stato Presidente di Giuria al Festival di Venezia: da settembre non si è più mosso dall’Italia, che ha viaggiato in lungo e in largo nell’ultimo mese e mezzo. Dalla Laguna è passato a Napoli, poi a Roma e infine a Torino, dopo due giorni nelle Langhe con la famiglia. Infatti, il regista ha trascorso lo scorso weekend ad Alba alla ricerca del tartufo insieme alla moglie Olivia Hamilton, attrice statunitense che compare in molti dei suoi film, e ai loro due figli di 10 mesi e 4 anni.

Prima del grande giorno della premiazione, masterclass e proiezione, nei giorni torinesi Damien Chazelle ha alternato impegni ufficiali alla Mole Antonelliana e visite di piacere nella città sabauda. Durante il sopralluogo alla Mole Antonelliana, Chazelle ha accettato di partecipare ad un progetto fotografico di Riccardo Ghilardi e ha visitato privatamente la mostra Il mondo di Tim Burton. Lunedì pomeriggio si è recato per interesse personale al Museo dell’Automobile, prima di chiudere la giornata in compagnia dei vertici del Museo in un’enoteca del centro. Martedì sera invece era atteso tra il pubblico della Bohème al Teatro Regio, coronando idealmente il connubio cinema-musica che da sempre caratterizza la sua vita e il suo cinema.

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Edoardo Borghesio,
Redattore.

October 26, 2023
Michael Caine annuncia il ritiro dalle scene

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Michael Caine è in pensione: ha confermato di essersi ritirato dalla recitazione nel corso di un’intervista radiofonica a BBC 4. A 90 anni compiuti a marzo, l’attore britannico ha partecipato poco fa alla presentazione di The Great Escaper, il film conclusivo della sua sterminata carriera, lunga oltre sessant’anni. Nel suo ultimo ruolo cinematografico, l’attore principale interpreta il veterano della Seconda Guerra Mondiale Bernard Jordan, che nel 2014 fuggì dalla casa di cura in cui abitava per partecipare al 70° anniversario dello sbarco in Normandia in Francia.

E ora, il leggendario interprete ragiona «Mi sono detto che ho fatto un film in cui interpreto il ruolo principale e che ha ricevuto recensioni incredibili. Ormai le uniche parti che potrei verosimilmente ottenere sono quelle di novantenni. O forse 85enni. Non sono ruoli da protagonisti. Non ci sono protagonisti di 90 anni. Quindi ho pensato che posso anche smetterla. Cosa potrei ancora fare di meglio?».

Caine ha anche raccontato che dopo la fine del lavoro su The Great Escaper gli era stata proposta un’altra parte e che l’ha rifiutata dopo aver fatto una cosa che non aveva mai fatto prima: contare il numero di pagine del copione in cui c’erano battute del suo personaggio. Vedendo che erano 15 su 99 e che quindi si trattava di una piccola parte, ha deciso che non ne valeva la pena. «Così sono andato in pensione», ha concluso.

La notizia del presunto pensionamento del due volte premio Oscar aveva già saltuariamente riempito le pagine dei tabloid di tutto il mondo, ma stavolta è vero, ed è pure una decisione spontanea. Caine aveva già annunciato l’idea di andare in pensione dopo The Great Escaper, nonostante avesse anche dichiarato al Guardian che pensava di recitare nel ruolo di Charles Darwin in una produzione in programma nel 2024.

Ma non sarà un ritiro totale né sofferto: Michael Caine ha aggiunto di vivere una vita «molto felice» insieme alla moglie Shakira, 76 anni, e ai nipoti, che «adora». E ora si dedicherà alla scrittura: il suo thriller d’esordio, dal titolo Deadly Game, uscirà a novembre negli Stati Uniti. «Ci sarà da scrivere. Prima o poi scriverò un altro libro perché mi è piaciuto moltissimo farlo. Il problema del fare film è che devi alzarti alle 6.30 del mattino, imparare le battute e poi lavorare fino alle 22.00 di sera» ha spiegato. «Con la scrittura non devi alzarti dal letto: tutto ciò di cui hai bisogno è carta, matita e puoi iniziare».

Michael Caine, al secolo Michael Micklewhite, comincia a lavorare negli anni cinquanta, condividendo inizialmente la stanza con il musicista in erba e futuro premio Oscar John Barry. Ha interpretato pellicole iconiche come Alfie, The Ipcress File, Gli Insospettabili, L’uomo che volle farsi re, Vestito per uccidere. Insieme a Jack Nicholson e a Paul Newman, Michael Caine è uno dei pochi attori a essere stati candidati ai premi Oscar per film prodotti in cinque diversi decenni: negli anni sessanta, settanta, ottanta, novanta e duemila. Michael ne ha vinti due come miglior attore non protagonista: nel 1986 per Hannah e le Sue Sorelle di Woody Allen e poi nel 1999 per Le regole della Casa del Sidro. Recentemente ha partecipato a diversi film di Christopher Nolan, conquistando i fan soprattutto con il ruolo del maggiordomo Alfred nella trilogia dedicata al Cavaliere Oscuro.

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Edoardo Borghesio,
Redattore news.

October 18, 2023
The World of Tim Burton a Torino

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Tim Burton è a Torino. Il visionario regista di Beetlejuice, Batman ed Edward Mani di Forbice è approdato nella Città della Mole in occasione dell’inaugurazione della mostra monografica a lui dedicata. Il Museo del Cinema ha infatti organizzato un fitto programma per celebrare il cineasta californiano e il suo personalissimo stile visivo, a partire dall’esposizione di oltre 500 pezzi che ne ripercorrono l’intera carriera, dal primissimo cortometraggio Vincent (1982) alla recente serie Netflix Mercoledì (2022).

La mostra

La mostra intitolata The World of Tim Burton è un viaggio nella mente creativa di Tim Burton attingendo direttamente dal suo archivio personale. La biografia artistica del regista nato a Burbank nel 1958 è registrata passo passo attraverso pezzi unici e mai visti prima dislocati in tutti gli spazi del Museo, che assume per l’occasione un aspetto gotico e fiabesco come lo dipingerebbe il regista. Attraverso la mostra sarà possibile rintracciare le origini e l’evoluzione del ricchissimo universo stilistico e tematico di Burton, da Edgar Allan Poe a Lewis Carroll, da Charles Addams al Dr. Seuss, da Ed Wood a Vincent Price.

Il percorso coinvolge tutto il museo con una particolare ambientazione, e si compone di circa 540 pezzi dislocati in 9 sezioni e tra schizzi, dipinti, disegni, fotografie, concept art, storyboard, costumi, opere in movimento, maquette, pupazzi, bozzetti e installazioni scultoree a grandezza naturale che testimoniano la genesi dello stile visivo espressionista ed onirico del suo autore. Non mancano i contenuti speciali: una fedele riproduzione dello studio personale dell’artista e uno speciale sneak peek di progetti non realizzati, tra cui una serie TV dedicata al Mago di Oz e un adattamento di Romeo & Giulietta.

Da Batman ad Alice in Wonderland, dal Mistero di Sleepy Hollow al Pianeta delle Scimmie, da Mars Attack! a Sweeney Todd, da La Fabbrica del Cioccolato a Dumbo, fino al recentissimo successo di pubblico su Netflix ispirato alla Famiglia Addams, nella mostra emerge tutta la creatività di Burton, autore del ‘Burtonesque’, stile artistico personalissimo e iconico. E spiccano tutti gli aspetti bislacchi dei suoi protagonisti, in particolare i reietti incompresi, spesso relegati ai margini della società ma che nei suoi film riescono a vivere la propria avventura: Edward Mani di Forbice, la Sposa Cadavere e Jack Skeletron di Nightmare Before Christmas.

The World of Tim Burton è stata allestita nei locali del Museo del Cinema di Torino presso la Mole Antonelliana dalla regista e curatrice Jenny He in collaborazione con Tim Burton in persona, ed è stata adattata dal Direttore del Museo Domenico De Gaetano. Dopo l’inaugurazione con il suo protagonista, sarà aperta al pubblico e visitabile dall’11 ottobre al 7 aprile 2024.

La cerimonia

Il soggiorno torinese di Tim Burton è cominciato martedì 10 ottobre con l’inaugurazione della mostra. È la sua prima volta a Torino, ma «Ne ho sempre sentito parlare — dice il regista — Il museo è un edificio incredibile: appena ho visto l’allestimento della mostra ho provato una sensazione potente, è come entrare in un parco dei divertimenti».

Poco dopo, in una cerimonia presieduta dal Presidente del Museo del Cinema Enzo Ghigo e dal direttore Domenico De Gaetano insieme al delegato del MIC Vittorio Sgarbi, Tim Burton è stato omaggiato della Stella della Mole, premio di riconoscimento alle eccellenze internazionali del cinema istituito dal Museo di Torino. L’autore è stato poi interrogato dalla stampa su vari temi: la sua filosofia creativa, il suo approccio alla vita, il suo lavoro attuale sul sequel di Beetlejuice con Winona Ryder e Monica Bellucci, sua nuova fiamma, la sua percezione del cinema italiano, nonché le pressanti questioni attuali come lo sciopero degli attori, il politicamente corretto e lo streaming che minaccia la sala.

«Tutti hanno paura degli incubi — dichiara — Io ho paura delle cose normali. Per esempio da ragazzino mi faceva paura alzarmi e andare a scuola. Ci sono cose che mi hanno sempre reso più nervoso dell’oscurità». E se non fosse mai diventato regista? La risposta, al Corriere della Sera, è spiazzante: «Probabilmente sarei diventato un serial killer». E l’ispirazione artistica invece da dove viene? «Dalle cose più semplici: siamo troppo occupati a fare cose, nel mondo moderno, ma le idee migliori arrivano quando pensi ad altro. E la fantasia mi pare sempre più reale della realtà stessa». Ed è stato influenzato anche il cinema italiano: «Adoravo gli horror di Mario Bava, è stato il primo regista italiano con cui mi sono identificato. Poi è arrivato Fellini».

A proposito dello sciopero degli attori, spera «che la situazione si sblocchi al più presto»: le riprese della seconda stagione della serie Netflix su Mercoledì con Jenna Ortega sono state interrotte, ma il regista confida di tornare a lavorarci: «adoro questo personaggio perché è molto vicino a me. Anche io sono stato un adolescente “disturbato”. Ero un outsider e un reietto. Questa sensazione non mi abbandona mai». Sul politicamente corretto è critico «È difficile essere scrittore, musicista o comico oggi perché non si possono più dire certe cose, ma questo fa perdere il senso del tutto — commenta — Io sono sempre stato incorrect e non posso cambiare. Spero si torni alla ragione». Sul futuro del cinema invece ha speranza: «La situazione è preoccupante, ma non è così grave: il pubblico ama il cinema, e lo sta dimostrando, casomai il problema è legato al business degli studios».

I prossimi eventi

Tim Burton alloggia in una suite al Grand Hotel Sitea di via Carlo Alberto, uno degli alberghi più prestigiosi della città, e mercoledì 11 ottobre sarà protagonista di una masterclass nell’Aula del Tempio del Museo del Cinema. Più tardi introdurrà una proiezione del suo cult del 1988 Beetlejuice, con Michael Keaton, che si terrà al Cinema Massimo in modo da poter accogliere più persone. Per la prima volta in assoluto, inoltre, prima degli eventi Tim Burton sfilerà sul purple carpet (declinazione burtonesca del classico tappeto rosso) per concedere autografi e selfie ai fan che non sono riusciti ad accaparrarsi un biglietto.

L’iniziativa ha registrato un grande consenso, e gli organizzatori ne sono assai orgogliosi: «Un sogno che si realizza — ha commentato Domenico De Gaetano, direttore del Museo del Cinema e curatore della mostra — Quello di Burton è un personaggio fondamentale perché piace a diverse generazioni, dai più anziani ai giovanissimi». «Il Museo del Cinema ha investito tantissimo in questa mostra — sono le parole del Presidente del Museo Enzo Ghigo — Abbiamo cercato di realizzare un allestimento diverso, accattivante e considerata anche la reazione di Burton, direi che ci siamo riusciti». Infatti Tim Burton ha definito la Mole «una location incredibile che unisce la magia dell’architettura a quella del cinema».

Per il Museo del Cinema di Torino, ottobre 2023 sarà veramente memorabile: martedì 24 ottobre è atteso il regista premio Oscar Damien Chazelle, autore di cult istantanei come Whiplash e La La Land. Come Kevin Spacey e Tim Burton prima di lui, anche Chazelle riceverà la Stella della Mole, terrà una masterclass e introdurrà la proiezione di un suo film, in questo caso Babylon, eventi tutti quanti sold out a pochi minuti dall’annuncio.

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Edoardo Borghesio,
Redattore news.

October 12, 2023
Lo sciopero degli sceneggiatori a Hollywood è (forse) finito

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La WGA (Writers Guild of America), il sindacato degli sceneggiatori statunitense, ha finalmente comunicato di aver raggiunto un accordo provvisorio con i produttori e di avere dunque intenzione di cessare lo sciopero in atto da mesi. Dal 2 maggio, giorno d’inizio del writer strike, sono trascorsi esattamente 146 giorni, con l’esito di diverse produzioni interrotte, tra cui la quinta stagione di Stranger Things, Spider-Man Beyond the Spider-Verse e il sequel di Ghostbusters.

Nei prossimi giorni i membri della WGA voteranno se accettare o meno l’accordo, che sembra già, tuttavia, soddisfare la maggior parte delle richieste avanzate dagli sceneggiatori. Tra le istanze risolte ci sono l’aumento delle royalty per i contenuti in streaming e la garanzia che l’intelligenza artificiale non interferirà con crediti e compensi degli autori. Tuttavia, lo sciopero non sarà ufficialmente finito finché non ci sarà una firma delle due parti.

Dopo cinque giorni consecutivi di negoziazioni, un tweet pubblicato dal comitato di WGA domenica 24 settembre recita: “Possiamo dire, con grande orgoglio, che questo accordo è eccezionale, con guadagni significativi e tutele per gli scrittori in ogni settore di appartenenza”. Ciononostante, i dettagli sul nuovo accordo contrattuale non verranno diffusi fino a quando la versione definitiva non sarà completata nei prossimi giorni.

Non tutti i problemi sono stati risolti, dal momento che lo sciopero degli attori indetto dalla SAG-AFTRA (Screen Actors Guild – American Federation of Television and Radio Artists) è ancora in atto sin dal 14 luglio, per un totale di 72 giorni a domenica 24 settembre 2023. Perciò le produzioni che potrebbero riprendere a breve sono soltanto quelle prive di attori, come i talk show.

Oltre 100.000 lavoratori dietro le quinte sono in fermento da mesi o settimane con gli scioperi che richiedono maggiori garanzie nei loro settori: registi, operatori di ripresa, pubblicitari, truccatori, scenografi, tecnici, parrucchieri e direttori della fotografia. Le questioni salienti riguardano sempre un’appropriata remunerazione per lo sfruttamento a lungo termine dei prodotti via streaming e la non ingerenza delle intelligenze artificiali nelle filiali produttive.

La posta in gioco è molto alta, dal momento che – come fa notare BadTaste – lo sciopero terminerà solo se le condizioni soddisferanno completamente gli sceneggiatori, che dopo mesi senza lavoro non hanno più niente da perdere. Se da un lato l’accordo con la WGA farà da modello anche per la trattativa con la SAG-AFTRA, dall’altro pure gli studios sono agli sgoccioli: se un accordo non venisse raggiunto entro il 30 settembre (chiusura dell’anno fiscale per molte aziende), le ripercussioni sull’industria sarebbero ancora più catastrofiche. E Hollywood non può permetterselo.

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Enrico Borghesio e Edoardo Borghesio,
Redattori news.

September 26, 2023
Recensione Assassinio a Venezia – Nel bel mezzo di un gelido autunno

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La storia si apre nell’oscura Venezia, alla vigilia di Ognissanti del 1947, quando il famoso Hercule Poirot, ormai pensionato, viene richiamato all’azione da una vecchia amica. Kenneth Branagh indossa nuovamente gli ingombranti baffi prostetici e dirige il terzo giallo della sua personale saga mystery, Assassinio a Venezia, finora il più intrigante e sorprendente dei tre.

Séance: una seduta spiritica a Venezia

Ritiratosi dalla celebrità e senza più lo stimolo a risolvere casi, l’ex detective non desidera altro che coltivare zucche. Ma la scrittrice di gialli Ariadne Oliver (Tina Fey), alter ego letterario di Agatha Christie stessa, insiste affinché Poirot torni in scena. A mezzanotte avrà luogo una seduta spiritica in un antico palazzo che si dice infestato, e le due brillanti menti dovranno smascherare la medium Joyce Reynolds (Michelle Yeoh fresca di Oscar per Everything Everywhere All At Once).

Gli invitati al rito sono in qualche maniera tutti collegati all’anima che vi si vuole richiamare: un anno addietro è morta per presunto suicidio Alicia, figlia della cantante lirica Rowena Drake (Kelly Reilly), padrona di casa che ha indetto la seduta. Partecipano la governante, presente nella fatale notte, l’ex fidanzato della ragazza, il medico di famiglia con l’enigmatico e precoce figlioletto (rispettivamente Jamie Dornan e Jude Hill, riuniti come padre e figlio dopo Belfast, sempre diretto da Kenneth Branagh) e un ex poliziotto (Riccardo Scamarcio). Un omicidio consumato entro le mura di questa tenebrosa casa nella notte di tempesta forza l’investigatore riluttante a rimettersi in gioco.

Ci sono tutti gli ingredienti del giallo classico, che la sceneggiatura di Michael Greene trasferisce a Venezia ma prelevandola da un romanzo originale meno noto di Agatha Christie, intitolato Hallowe’en Party (Poirot e la strage degli innocenti in italiano) pubblicato nel 1969. Branagh regista opta però per un’atmosfera piuttosto diversa da quella a cui ci avevano abituati le due precedenti indagini esotiche, impostando l’adattamento come un ibrido tra whodunnit e thriller paranormale.

Fra apparizioni, nenie infantili, rumori sospetti e rintocchi, il palazzo stesso si anima come un personaggio vero e proprio, inducendo al dubbio persino la fredda e schietta razionalità di Poirot. Inserti horror come boati, cigolii e il crepitare della pioggia interrompono di continuo lo svolgimento, frangono e insieme legano le sequenze, confluiscono in un’orchestra tetra e ritmica che alimenta l’indagine in maniera meno convenzionale rispetto ai due precedenti episodi.

Camera chiusa: teatro e Poirot

La messa in scena di Branagh è particolarmente riconoscibile nella forma teatrale dell’azione: rinchiude tutti i personaggi nello stesso spazio, angusto e sempre più claustrofobico, li obbliga al confronto e a rivelare istinti e pregiudizi. Il cast, come d’abitudine per questi film all-star del regista irlandese, si manifesta nella sua coralità più che nelle singolarità. Spiccano, comunque, il giovane Jude Hill, e le buone prove della brillante Tina Fey e della misteriosa Michelle Yeoh.

La scrittrice e la medium, simbolicamente, incarnano le due istanze avversarie nella mente di Poirot che sono veicolate concettualmente dalla pellicola: raziocinio e superstizione. Sir Ken, infatti, approfondisce qui particolarmente la creatura di Agatha Christie, imprimendo nel volto del protagonista i fantasmi di amori e amici perduti e guerre combattute. Inesorabile mattatore, ci spinge col suo punto di vista dominante a temere veramente che qualcosa di sinistro ed inspiegabile alberghi nella casa.

La sceneggiatura approssima qualche dettaglio di contestualizzazione storica, mescolando il sontuoso Carnevale veneziano con il neo-importato Halloween americano, e mostra il fianco rivelando precocemente elementi che rendono prevedibile il finale. Tuttavia, lo script sviluppa globalmente piuttosto bene un plot che deve prima di tutto intrattenere, e poi, se possibile, scendere in profondità, rivelando le cantine inesplorate di questa serie di adattamenti preposti a condurre una materia classica al grande pubblico contemporaneo.

La regia cattura l’attenzione con grandangoli che deformano le prospettive e concorrono a provocare un’impressione allucinata della realtà. Particolarmente incisiva la colonna sonora di Hildur Guðnadóttir e, nella mano del regista, l’uso consistente di piani olandesi. Insieme agli enigmatici dettagli della scenografia, enfatizzati di continuo come se celassero qualcosa di più di quel che sembra, i virtuosismi tecnici contribuiscono alla costruzione di un’atmosfera sempre più inquietante e di un mistero inafferrabile.

Traumi: quando si riaccenderanno le luci

Nel romanzo originale una tredicenne viene uccisa poco dopo aver rivelato di conoscere la verità sulla morte misteriosa di un’amica avvenuta l’anno precedente. La seduta spiritica è un’aggiunta originale del film, la cui particolarità rispetto ai precedenti casi di Poirot è proprio lo scontro con qualcosa di occulto, in una sorta di duello concettuale tra spiritismo e positivismo – quando venivano impiegate le prime rudimentali macchine di proiezione delle ombre che si vedono nella prima parte del film – in cui ciascuno è chiamato a schierarsi, dalla parte della superstizione oppure della razionalità.

Sono in qualche maniera entrambe forme di reazione ad un trauma, quello che ogni personaggio del film ha vissuto singolarmente, nella morte di Alicia e negli orrori della guerra. In un orizzonte più ampio, è una metafora di come rispondere ad un evento catastrofico e imprevedibile come lo è stata la pandemia recentemente. Assassinio sul Nilo era stato rinviato più e più volte durante l’emergenza, ma Assassinio a Venezia è senza dubbio il primo Poirot dell’era post-Covid, che reagisce come può, forse ancora incapace di dare spiegazioni razionali ad ogni cosa.

Eppure, all’opposto dell’Orient Express e del Nilo, Assassinio a Venezia è il primo caso di Kenneth Branagh a cominciare male e finire bene, come se Poirot fosse riuscito a trovare un compromesso nella sua esistenza tra luci e ombre. Dalla notte di tempesta, che lasciava una Venezia crepuscolare e decadente fuori dalla finestra, si riaccendono le luci (When the Lights Go on Again di Vera Lynn è la canzone del 1943 con cui si apre e si chiude il film) su una città che offre nuovi casi e nuove occasioni al detective.

Così Branagh trova un equilibrio nella messa in scena di queste storie: senza più vincoli a introdurre il suo Poirot o la pressione di farlo funzionare, lo inserisce in un contesto inedito, dove ha maggior possibilità di manovra e si rivela più ispirato. Il mistero di per sé è meno ostico e la soluzione meno plateale, ma un’opera mai vista sul grande schermo si presta meglio a qualsiasi lettura senza rischiare imbarazzanti paragoni. Se Branagh l’ha capito, Poirot risolverà ancora molti altri casi.

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Edoardo Borghesio,
Redattore.

September 19, 2023
L’Esorcista: Il credente – Trailer

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Esattamente 50 anni fa, questo autunno, il film horror più terrificante della storia approdava sugli schermi, scioccando il pubblico di tutto il mondo. Ora, venerdì 13 ottobre, inizia un nuovo capitolo. Da Blumhouse e dal regista David Gordon Green, arriva The Exorcist: Believer.

Con questa dichiarazione Universal accompagna l’uscita del primo trailer del sequel dell’Esorcista, iconica pellicola che nel 1973 fu il primo horror ad ottenere la candidatura al miglior film ai Premi Oscar. A ritrascinare in vita il franchise ripartendo dell’originale ci pensa David Gordon Green, già responsabile della più recente trilogia di Halloween.

TRAILER ORIGINALE

Sinossi: Dalla morte della moglie incinta in un terremoto di Haiti 12 anni fa, Victor Fielding (Leslie Odom, Jr.) ha cresciuto la loro figlia, Angela (Lidya Jewett) da solo. Ma quando Angela e la sua amica Katherine (Olivia Marcum) scompaiono nel bosco, solo per tornare tre giorni dopo senza alcun ricordo di ciò che è successo, si scatena una catena di eventi che costringerà Victor ad affrontare il male e, nel suo terrore e disperazione, a cercare l’unica persona ancora in vita che abbia mai assistito a qualcosa di simile prima: Chris MacNeil (Ellen Burstyn).

Il primo trailer, che segue di pochi giorni il poster, è inquietante e disturbante come ci si possa aspettare dal materiale trattato; tuttavia l’eccesso di effetti digitali, stacchi e luci stroboscopiche restituisce una resa piuttosto forzata e artificiosa per questo nuovo look dell’Esorcista. Il primo iconico film fece scalpore proprio per la semplicità e schiettezza con cui affrontava il contenuto horror, al contrario qui gonfiato al massimo, forse troppo per un solo trailer.

The Exorcist: Believer è diretto da David Gordon Green da una sceneggiatura di Peter Sattlere e dello stesso David Gordon Green, da una storia di Scott Teems (Halloween Kills), Danny McBride (trilogia di Halloween) e David Gordon Green, basata sui personaggi creati da William Peter Blatty nel romanzo originale. Il film è prodotto da Jason Blum per Blumhouse e da David Robinson e James G. Robinson per Morgan Creek Entertainment. I produttori esecutivi sono Danny McBride, David Gordon Green, Stephanie Allain, Ryan Turek e Atilla Yücer.

L’Esorcista – Il credente sarà al cinema dal 13 ottobre 2023.

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Edoardo Borghesio,
Redattore news.

July 26, 2023
Assassinio a Venezia – Presentato il Trailer ufficiale

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Dopo mesi dal primo inquietante teaser, sono online il poster e il trailer ufficiale di A Haunting in Venice, terzo lungometraggio sulle indagini di Hercule Poirot con Kenneth Branagh regista e protagonista. Dopo il clamoroso successo di boxoffice Assassinio sull’Orient Express e il suo seguito Assassinio sul Nilo, questo Assassinio a Venezia cambia drasticamente tono come uno “sconvolgente thriller sovrannaturale”.

Sarà probabilmente anche l’adattamento meno fedele da Agatha Christie, sorgente di ciascuno dei tre script, tutti quanti firmati da Michael Green. Il romanzo originario è Poirot e la strage degli innocenti del 1969, mai trasposto prima sul grande schermo. L’ambientazione scelta per l’adattamento di Branagh è una tenebrosa Venezia del dopoguerra nella notte precedente Ognissanti. Il celebre detective è ormai in pensione, ma viene invitato dalla scrittrice di gialli Ariadne Oliver a partecipare ad una seduta spiritica in un antico palazzo che si dice infestato. Tra gli ospiti è presente anche una madre che ha perso la propria bambina un anno prima.

Poirot dovrà destreggiarsi tra ombre e apparizioni, trucchi e presenze oscure per risolvere il caso di omicidio che si consuma tra le pareti del palazzo, per il quale, ovviamente, tutti sono sospettati. Nel cast all-star, oltre a Kenneth Branagh dietro i baffi di Poirot, ci sono Tina Fey come Ariadne Oliver, Kyle Allen, Camille Cottin, Jamie Dornan e Jude Hill riuniti dopo Belfast, Ali Khan, Emma Laird, Kelly Reilly, l’italiano Riccardo Scamarcio e la vincitrice dell’Oscar Michelle Yeoh nei panni della medium che avvia la seduta spiritica. Il film è prodotto da Kenneth Branagh, Judy Hofflund, Ridley Scott e Simon Kinberg. Assassinio a Venezia sarà al cinema a partire dal 15 settembre 2023, e già dal 14 in Italia, forse dopo un’anteprima al Festival di Venezia (sciopero permettendo).

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Edoardo Borghesio,
Redattore news.

July 19, 2023
Diabolik, chi sei? – Poster e anticipazioni del terzo adattamento dei Manetti Bros

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A fine anno si chiuderà la trilogia cinematografica dei Manetti Bros dedicata all’anti-eroe inventato dalle sorelle Giussani. Il 26 ottobre esce al cinema Diabolik, chi sei?, tratto dall’omonimo albo numero 107 della serie di fumetti. Il capitolo finale vedrà protagonisti di nuovo Giacomo Gianniotti, Miriam Leone e Valerio Mastandrea.

Nel numero 107 della serie pubblicata da Astorina, che fu in edicola il 4 marzo 1968, Diabolik racconta all’ispettore Ginko il proprio passato e l’origine del nome Diabolik. La rivelazione avviene poiché il criminale e il poliziotto da sempre rivali si trovano insieme in gabbia e temono di non avere scampo, tanto che nemmeno la scaltra Eva Kant può impedire la sorte fatale. La locandina pubblicata raffigura gli occhi di una pantera, che saranno fondamentali nel racconto di Diabolik.

Giacomo Gianniotti torna nei panni di Diabolik, Miriam Leone è ancora la bellissima Eva Kant, così come Valerio Mastandrea è di nuovo l’inflessibile Ginko. Nel cast secondario Monica Bellucci è di nuovo Altea, amore di Ginko, e poi ci sono Chiara Martegiani, Massimiliano Rossi, Mario Sgueglia, Francesco Turbanti, Emanuele Linfatti, Michele Ragno, Amanda Campana, Andrea Arru, e anche Max Gazzè, Carolina Crescentini, Paolo Calabresi, Lorenzo Zurzolo e una piccola straordinaria partecipazione di Barbara Bouchet.

Diabolik, chi sei? arriverà nelle sale italiane il prossimo 26 ottobre distribuito da 01 Distribution con soggetto scritto dai Manetti Bros e Mario Gomboli, tratto dalla storia originale di Angela e Luciana Giussani, sceneggiatura di Manetti Bros e Michelangelo La Neve.

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Edoardo Borghesio,
Redattore news.

June 28, 2023
Priscilla di Sofia Coppola: teaser trailer della biopic sulla moglie di Elvis

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A24 ha diffuso online il primo trailer di Priscilla, nuovo film di Sofia Coppola che racconta la vita della moglie di Elvis Presley. Cailee Spaeny interpreta Priscilla e la star di Euphoria Jacob Elordi diventa Elvis nel nuovo film sul Re del Rock, dopo il clamoroso successo di Elvis di Baz Luhrmann con Austin Butler.

Il soggetto per il grande schermo viene da Elvis & Me, il libro di memorie pubblicato nel 1985 dalla moglie del cantante Priscilla Presley insieme a Sandra Harmon. Le riprese di Priscilla si sono svolte alla fine del 2022 e l’uscita al cinema è prevista per l’autunno 2023, dopo una plausibile anteprima al Festival di Venezia.

TRAILER ORIGINALE

Il teaser trailer, che è uscito accompagnato dal primo poster della biopic, anticipa scene da tutta la vita di Priscilla, che ha conosciuto il più grande divo del mondo quando andava ancora a scuola: poi sarebbero venute Graceland, le nozze, la loro bambina Lisa Marie e il successo sempre più fuori controllo del marito.

Tornano a collaborare con la regista di Marie Antoinette il direttore della fotografia Philippe Le Sourd, la costumista Stacey Battat, la montatrice Sarah Flack e la scenografa Tamara Deverell. Coppola è regista e sceneggiatrice ma anche produttrice insieme a Youree Henry, Lorenzo Mieli di The Apartment, Fremantle Company e American Zoetrope, col finanziamento di The Apartment e di Stage 6 Films di Sony. Si tratta della terza collaborazione di Sofia Coppola con A24 dopo The Bling Ring del 2013 e On the Rocks del 2020.

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Edoardo Borghesio,
Redattore news.

June 23, 2023
Trailer Mission Impossible Dead Reckoning – Parte uno

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Paramonunt Pictures ha diffuso online un poster e il nuovo trailer di Mission: Impossible – Dead Reckoning – Parte Uno, settimo capitolo del franchise con Tom Cruise. Con un ricchissimo cast e la promessa di scene d’azione in un crescendo mai visto, il film, scritto e diretto da Christopher McQuarrie, sarà nelle sale a partire dal 12 luglio 2023.

TRAILER ORIGINALE

TRAILER ITALIANO

Sinossi: Ethan Hunt e la sua squadra dell’IMF hanno davanti la sfida più pericolosa che abbiano mai affrontato: trovare e disinnescare una nuova terrificante arma che minaccia l’intera umanità. Con il destino del mondo e il controllo del futuro appesi a un filo, la squadra inizierà una frenetica missione in tutto il mondo, per impedire che l’arma cada nelle mani sbagliate. Messo di fronte a un nemico misterioso e onnipotente, tormentato da forze oscure del passato, Ethan sarà costretto a decidere se sacrificare tutto per questa missione, comprese le vite di coloro che gli stanno più a cuore.

L’inossidabile Tom Cruise in questo trailer corre nel deserto e tra le gallerie di Venezia, lotta corpo a corpo, viene intrappolato, sfreccia su tre mezzi diversi per le strade di Roma in un folle inseguimento, si arrampica su un treno che precipita in un lago e salta giù da un dirupo in moto. Per questa missione ritornano accanto a Ethan Hunt i suoi colleghi Luther Stickell (Ving Rhames) e Benji Dunn (Simon Pegg) nonché l’interesse amoroso di Ethan, l’agente MI6 Ilsa Faust (Rebecca Ferguson) e la misteriosa e pericolosa Vedova Bianca (Vanessa Kirby), ma soprattutto il suo antico dirigente Eugene Kittridge (Henry Czerny), che qui sembra porre l’agente Hunt davanti a un pericoloso punto di non ritorno: «La nostra vita è la somma delle nostre decisioni, e non possiamo sfuggire al passato».

Sono nuovi nel cast amici e nemici: Hayley Atwell nei panni di Grace, una donna che resta ammanettata con Ethan a Roma, Esai Morales che sembra l’esecutore di un malvagio potere superiore capace di intellegere il destino di chiunque, Pom Klementieff come un’eccentrica e pericolosa sicaria, e ancora Mariela Garriga, Shea Whigham, Greg Tarzan Davis, Charles Parnell, Frederick Schmidt, Cary Elwes, Mark Gatiss, Indira Varma e Rob Delaney. Scrive e dirige Christopher McQuarrie, autore degli ultimi due capitoli della serie.

Il primo Mission: Impossible uscì nel 1996 con la regia di Brian De Palma e incassò oltre 450 milioni di dollari in tutto il mondo, resuscitando una serie televisiva degli anni ’60 della quale Tom Cruise era grande fan. Con un cast sempre nuovo o con rientri a rotazione, il franchise si è ingigantito negli ultimi anni grazie al crescente impegno profuso dalla star e produttore Tom Cruise, che investe sempre di più in scene d’azione al limite dell’impossibile, ed è coinvolto personalmente in stunt inimmaginabili. La regola rigorosa di cambiare regista per ogni episodio ha comportato l’alternarsi, dietro la macchina da presa, di sguardi e intenzioni diverse per quattro episodi, sino all’ingaggio fisso di Christopher McQuarrie, sceneggiatore premio Oscar de I soliti sospetti, che ha scritto e diretto tutti i capitoli dal quinto in poi.

Da quel momento le trame dei singoli film hanno cominciato ad essere legate l’una all’altra, con personaggi ricorrenti che hanno costruito un universo sempre più ricco intorno al protagonista Tom Cruise, solidificando la squadra dell’IMF, i rivali e l’interesse del protagonista nei confronti del personaggio interpretato da Rebecca Ferguson, la quale sembra essere un motore non indifferente dell’agire di Ethan nell’ultimo episodio. Qui il boss del primo film, Kittridge, minaccia Hunt: tutto il mondo gli dà la caccia, questa missione gli costerà molto cara. Conscio delle possibili perdite e del terribile destino che incombe, forse già scritto, Ethan vorrebbe mettere la vita dei suoi uomini davanti a ogni cosa, ma forse stavolta non sarà possibile: «Il mondo sta cambiando, la verità sta scomparendo, la guerra sta arrivando».

Mission: Impossibile 7 e 8 sono stati ideati per essere realizzati consecutivamente ed uscire rispettivamente nelle estati del 2021 e 2022 come Dead Reckoning Parte Uno e Parte Due. Lo scoppio dell’epidemia Covid 19 nel 2020, a riprese appena cominciate, ha provocato uno slittamento della produzione; quindi l’uscita è stata ritardata di due anni per entrambe le pellicole, con la seconda metà del progetto che ha concluso da poche settimane la produzione in Norvegia. Mission: Impossibile 7 è stato girato in Inghilterra, Emirati Arabi e Norvegia, oltre che nelle location italiane di Venezia e Roma, siti rispettivamente per un party e di un adrenalinico inseguimento automobilistico. La colonna sonora è di Lorne Balfe, che ha rielaborato con vari strumenti l’iconico tema della serie composto da Lalo Schifrin.

Nei giorni scorsi il regista Christopher McQuarrie ha raccontato che all’inizio della produzione lui e Tom Cruise si sono incontrati per discutere di cosa inserire nella settima avventura, decidendo di pilotare una moto su un dirupo e di distruggere un treno, idee folli finite infine entrambe in sceneggiatura e poi girate. La produzione ha indetto un concorso via Twitter destinato al pubblico statunitense per partecipare alla première mondiale di Mission: Impossible 7, che avrà luogo a Roma in data ancora da definire. Dead Reckoning – Parte Uno sarà al cinema negli Stati Uniti il 12 luglio 2023, e arriverà nelle sale italiane il 13 luglio.

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Enrico Borghesio,
Redattore news.

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Edoardo Borghesio,
Redattore news.

May 19, 2023