FRAMES CINEMA

Tag: edoardo pesce

  • Recensione Ho visto un re – Quando la realtà incontra la fantasia

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    Nei romanzi di Salgari si narrano prodigiose imprese in luoghi lontani, posti che lo scrittore non aveva mai visitato e che si figurò nel dettaglio solo attraverso carta e penna. D’altronde la fantasia spesso si muove di pari passo con la realtà e permette a chi ne è munito di sfuggire alle insoddisfazioni del mondo vero.  Da questo presupposto parte Ho visto un re, ultimo film di Giorgia Farina, ambientato durante la campagna d’Etiopia. Per quanto i fatti narrati risultino improbabili, si ispirano a una vicenda realmente accaduta al giornalista Nino Longobardi.

    Nel 1936 Emilio (Marco Fiore) vive nel paesino di Roccasecca insieme al padre Marcello (Edoardo Pesce), podestà fascista, alla madre Regina (Sara Serraiocco), artista annoiata e infelice e allo zio Fausto (Lino Musella), affascinante figura che prova a fargli conoscere la cultura al di là della propaganda. Le sue giornate sono scandite dalle lezioni con gli altri balilla, tenute dalla volontaria Gemma (Blu Yoshimi) e dai giochi ispirati alle letture di episodi avventurosi. Quando il ras etiope Abraham (Gabriel Gougsa) viene confinato per ragioni politiche nella voliera del suo giardino, il bimbo si convince che il nuovo arrivato sia il suo beniamino Sandokan e decide di aiutarlo. 

    Farina sceglie di impostare la narrazione in maniera fiabesca e lo suggerisce sin dalla prima sequenza, ricorrendo all’animazione per mostrarci gli ambienti nei quali il protagonista agisce nei suoi momenti di svago. Assisteremo a una storia generata dagli occhi di un bambino, che ci guiderà negli spazi in cui si rifugia per nascondersi dalle sue paure. 

    Concettualmente l’idea risulta molto stimolante e diventa una potenziale occasione per menzionare con un punto di vista diverso vicende storiche caratterizzate da abomini e soprusi, purtroppo però il problema si riscontra nello sviluppo stesso del racconto. La volontà di renderla una favola fruibile anche dai più piccoli si traduce in azioni eccessivamente semplicistiche. 

    L’unica evoluzione alla quale assistiamo è quella di Gemma, che avviene però in modo troppo didascalico. 

    I possibili approfondimenti di trama non si verificano mai e il lungometraggio è sempre sospeso sulla superficie dell’acqua, senza mai esplorare gli abissi.

    È comunque interessante la caratterizzazione dei personaggi negativi, volutamente presentati come macchiette. Questo intento si riflette anche nella regia, che utilizza inquadrature dal basso e dall’alto per ridicolizzare l’enfasi dei membri del regime. In questo senso il federale Trocca, (Gaetano Bruno) è probabilmente il più centrato e rispecchia la crudeltà e le incoerenze di quel periodo storico.

    L’interpretazione meglio riuscita è invece quella di Musella, che conferisce al suo Fausto lo spirito combattivo necessario e induce lo spettatore a tifare per lui e per la realizzazione dei suoi piani.

    Nonostante i difetti, Ho visto un re è un film godibile, che ha sicuramente il pregio di sfoderare l’immaginazione come arma per resistere alle sopraffazioni. Emilio paragona le gesta di Sandokan a quelle della sua vita e questo continuo parallelismo letterario gli permette di mostrare coraggio nelle situazioni difficili.

    I libri si dimostrano gli aiutanti buoni, pronti ad aprire le menti per accompagnarle in incredibili viaggi. In un tempo in cui a nessuno importa della verità, in cui è essenziale “mascherarsi bene”, la finzione diventa un riparo, un luogo di tolleranza nel quale le vedute sono infinite ed esistono innumerevoli sfumature da intraprendere. Non resta che affidarsi ai bambini, capaci di scorgere all’orizzonte l’arrivo di un valoroso aiutante. 

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transform_hover_element="self" transform_scale_x="1" transform_scale_y="1" transform_translate_x="0" transform_translate_y="0" transform_rotate="0" transform_skew_x="0" transform_skew_y="0" transform_origin="" transform_scale_x_hover="1" transform_scale_y_hover="1" transform_translate_x_hover="0" transform_translate_y_hover="0" transform_rotate_hover="0" transform_skew_x_hover="0" transform_skew_y_hover="0" transition_duration="300" transition_easing="ease" transition_custom_easing="" animation_type="" animation_direction="left" animation_color="" animation_speed="0.3" animation_delay="0" animation_offset="" last="true" border_position="all" first="false"][fusion_text columns="" column_min_width="" column_spacing="" rule_style="" rule_size="" rule_color="" hue="" saturation="" lightness="" alpha="" user_select="" awb-switch-editor-focus="" content_alignment_medium="" content_alignment_small="" content_alignment="" hide_on_mobile="small-visibility,medium-visibility,large-visibility" 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    Maria Cagnazzo,
    Redattrice.

  • Recensione El Paraiso di Enrico Maria Artale

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    Una musica latino-americana, una sala da ballo dai toni accesi e un uomo e una donna che danzano tutta la notte, lasciandosi andare a melodie allegre avvolte da una patina di malinconia. La prima sequenza di El Paraiso, nuovo film di Enrico Maria Artale prodotto da Ascent Film, Young Films e Rai Cinema, ci trasporta immediatamente in un’atmosfera nostalgica, presentandoci senza fronzoli i due personaggi principali e il loro modo di vivere attraverso un sentimento disfunzionale e al contempo imprescindibile.

    Il regista romano, dopo il documentario Saro (2016) e le serie tv Romulus (2020) e Django (2023), torna al cinema raccontando quella che lui ha definito “una storia d’amore tra una madre e un figlio”. Il lungometraggio, presentato in anteprima alla 80ª Mostra internazionale d’arte cinematografica di Venezia, si è aggiudicato il Premio Arca Cinema Giovani per il miglior film italiano e nella sezione Orizzonti i riconoscimenti per la migliore sceneggiatura e per la migliore interpretazione femminile.

    Julio Cesar (Edoardo Pesce) è un quarantenne che abita vicino Fiumicino con sua madre (Margarita Rosa De Francisco), una sessantenne di origini colombiane. I due sopravvivono collaborando con uno spacciatore locale (Gabriel Montesi) e si trascinano da anni in una relazione simbiotica. L’arrivo di Ines (Maria Del Rosario), una ragazza che dalla Colombia deve consegnare alla coppia degli ovuli di cocaina, andrà a minare gli equilibri di un quadro apparentemente sereno. 

    Il legame dei protagonisti sembra fissato nel tempo e nello spazio. Il loro appartamento, nel quale si svolge gran parte della vicenda, rappresenta lo specchio di questa unione. Gli oggetti, il mobilio e la struttura stessa sembrano immobili e immutati, adagiati e stratificati negli anni, proprio come Julio e sua mamma. 

    I due, nonostante il rapporto morboso che li unisce, hanno dei temperamenti opposti: lei espressiva, esuberante e irascibile, lui mansueto e remissivo. È proprio questa natura antitetica che definisce i contorni della vicenda, suggellando una connessione impossibile da scalfire. Perfino la lingua che parlano (un misto tra romano e spagnolo) diventa il modo per comprendersi e ripararsi dal prossimo.

    La discordanza si riflette anche nelle scelte stilistiche: suoni vivaci e colori sgargianti si frappongono ad ambienti desolati e a dialoghi brevi e incisivi. 

    Il personaggio di Edoardo Pesce è bloccato in un limbo nel quale ha imparato a stare, è una sorta di eterno adolescente, che non ha conosciuto l’età adulta e guarda al mondo con occhi curiosi, ma spaventati. La madre rappresenta un porto sicuro, un’ancora che tiene ferme le incertezze di un futuro senza prospettive.  In questo perenne presente non c’è riservatezza, non ci sono chiavi per le porte delle stanze e non è possibile dedicare un momento a se stessi. L’alternativa a quell’unica forma di amore è solo una dolorosa solitudine.

    Julio probabilmente non sa come sognare, ha una conoscenza della realtà limitata e non riesce a immaginare un avvenire senza quel nido rassicurante, ma atrofizzato.

    A Margarita Rosa De Francisco è affidata l’interpretazione più controversa, è una donna con un passato oscuro e dal carattere ribelle, ma il suo sguardo a volte perso nel vuoto rivela una dolcezza quasi infantile. Nel momento più toccante l’attrice canta Amor eterno di Rocío Dúrcal accompagnata dalla chitarra di Pesce, lasciando emergere la tristezza che cela il suo personaggio: con gli occhi lucidi e il trucco sbavato scandisce le parole della canzone (“tú eres la tristeza, ay, de mis ojos que lloran en silencio por tu amor”) mentre il figlio la osserva con tenerezza. 

    Il racconto percorre due strade: nella prima viene presentata una connessione irrinunciabile, nella seconda il protagonista deve affrontare le conseguenze dei suoi sentimenti, provando a ricostruirne le origini. 

    El paraiso è il luogo da cui proviene la madre, ma esiste davvero? O è solo un posto immaginifico creato per dare speranza a un bambino? Julio vivrà una seconda vita, alla scoperta di un paradiso ritrovato, ma sempre trattenuto da una figura che ormai è parte di lui. Artale lascia lo spettatore sospeso in un ballo senza fine, immortale e indissolubile. 

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    Maria Cagnazzo,
    Redattrice.