FRAMES CINEMA

Tag: emma stone

  • Poor Things! – Teaser trailer del film con Emma Stone e Willem Dafoe

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    Tre settimane fa è stato rilasciato il primo teaser trailer in lingua originale di Poor Things, prossimo film di Yorgos Lanthimos con protagonista Emma Stone. 

    Nelle ultime ore è stato reso disponibile, grazie a Searchlight Pictures, il breve video doppiato in italiano con il titolo tradotto in Povere Creature!.

    LINK TRAILER IN LINGUA ORIGINALE

    LINK TRAILER IN LINGUA ITALIANA

    Il film narra le vicende di Bella Baxter, una donna dal carattere lunatico che mentre cerca di sfuggire al marito violento, ha un incidente e muore. Bella però torna stranamente a vivere dopo un trapianto con il cervello della bambina che portava in grembo.

    Nel trailer si possono vedere i principali componenti del cast formato dai già citati Willem Dafoe ed Emma Stone che torna a collaborare con Lanthimos dopo il film La Favorita (2018). A questi si aggiungono Mark Ruffalo (Shutter Island), Ramy Youssef (Mr. Robot), Margaret Qualley (Sanctuary), Christopher Abbott (Sanctuary), Kathryn Hunter (Macbeth) e Jerrod Carmichael (Cattivi Vicini).

    La regia è affidata a Yorgos Lanthimos (The Lobster, La Favorita) mentre la sceneggiatura, basata sul racconto di Alasdair Gray, è scritta da Tony McNamara che, come per la Stone, ha già collaborato con il regista in La Favorita.

    Oltre alla clip è stato pubblicato sui social anche il primo poster che vede come principale protagonista Emma Stone con il volto truccato in modo da nascondere al suo interno tre personaggi del film. 

    Qui il link per il poster.

    La pellicola è prodotta da Searchlight Pictures e uscirà nelle sale italiane a partire dal 12 ottobre 2023 distribuito da The Walt Disney Company Italia.

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  • RECENSIONE CRUDELIA – IL NUOVO LIVE ACTION DISNEY

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    I remake live-action di casa Disney basati sui loro classici hanno avuto una storia fatta di alti e bassi: se i remake di Cenerentola o Il Libro della Giungla hanno avuto un buon risconto di critica e pubblico, Maleficient, La Bella e la Bestia o Il Re Leone sembrano non essere riusciti a giustificare la propria esistenza al di fuori del fare cassa sulla nostalgia degli spettatori. Compitini appena sufficienti, quindi, con giusto la novità di un impianto visivo nuovo e di nuovi interpreti. Il nuovo live-action Disney Crudelia non soffre di mediocrità; il suo problema, in un certo senso, è l’esatto opposto.

    Crudelia non solo è un ideale prequel de La Carica dei 101, ma è anche una origin story di Crudelia De Mon (qui interpretata da Emma Stone), una delle villain più iconiche dell’immaginario Disney. Il film segue dall’infanzia all’età adulta questa aspirante stilista divisa -come il bianco e il nero dei suoi capelli- tra una personalità buona e gentile, Estella, e un lato oscuro da sempre dentro di lei che chiama Cruella (nonostante il titolo del film il personaggio mantiene il nome originale inglese, Cruella de Vil). Estella, dopo un periodo di gavetta, inizia a lavorare per la tirannica stilista Baronessa Von Hellman (Emma Thompson). Dopo la scoperta della responsabilità della Baronessa relativamente ad un tragico episodio del suo passato, Estella/Cruella decide di usare le armi della moda contro di lei, con l’aiuto dei suoi amici Jasper (Joel Fry) e Horace (Paul Walter Hauser), per compiere la sua vendetta.

    Il plot non è il punto forte del film: questa revenge story procede per accumulazione più che per sviluppo narrativo, tra rivelazioni che riescono a essere sia prevedibili che improbabili, persino involontariamente comiche. Anche lo sviluppo della protagonista lascia parecchio a desiderare: Emma Stone è molto brava nel rappresentare entrambi i lati del suo personaggio, ma il continuo passaggio da Estella a Cruella (e viceversa) è sempre troppo repentino, e non giustificato né dalla trama né dalle (seppur drammatiche) rivelazioni che la coinvolgono.

    L’aspetto migliore di Crudelia è nella sua presentazione visiva. Esteticamente è tra i migliori live-action Disney e, senza dubbio, il più originale. Merito della solida regia di Craig Gillespie (Lars e una ragazza tutta sua, Tonya) che trascina lo spettatore in vorticose carrellate nell’ambientazione anni ‘60-’70, tra le sfarzose scenografie barocche di Fiona Crombie e i meravigliosi costumi di Jenny Beavan, già vincitrice di due Premi Oscar per Camera con Vista e Mad Max: Fury Road. Proprio i costumi diventano i veri protagonisti del film; non solo perché presentano un’immensa varietà di stili e colori, ma perché l’abbigliamento (e, più in generale, la moda) diventa espressione di un sentimento di rivalsa e di riscatto sociale. Cruella usa la moda come arma contro la sua nemesi ma anche contro il conformismo e la mancanza di immaginazione, colpendo dall’interno quella struttura di cui all’inizio tanto desiderava far parte.

    Al contrario di altri anemici live-action Disney, Crudelia è un quindi un film fondato sull’eccesso, nella messa in scena e nella trama. I colori sono sgargianti, i movimenti di macchina sontuosi, buona parte del cast è sopra le righe (le più misurate sono Emma Stone e soprattutto Emma Thompson, le migliori del film), la colonna sonora di classici punk e rock non dà tregua, i costumi sono sfarzosi, le soluzioni narrative melodrammatiche. Questo eccesso nella messa in scena rispecchia la personalità debordante della protagonista. Tuttavia, se all’inizio questo aspetto può divertire e incuriosire, sul lungo andare si rivela controproducente per il film stesso. L’accumulazione di eventi, rivelazioni e sottotrame fa pesare il minutaggio del film rendendolo inutilmente lungo, e anche quando sembra giungere alla naturale conclusione in realtà prosegue ulteriormente. Il film diventa in tal modo estenuante più che immaginativo, stucchevole più che elegante. Nel complesso Crudelia è un’ambiziosa e originale esperienza visiva, soprattutto per gli standard dei live-action Disney. Ma questa origin story, più simile al Joker di Todd Phillips che a Il diavolo veste Prada, avrebbe giovato di un maggior controllo della sua
    materia narrativa da parte degli autori: Estella/Cruella non può e non vuole essere moderata, Crudelia avrebbe forse dovuto esserlo di più.

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