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Tag: federica rossi

  • Recensione The Balconettes – Le donne al balcone

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    Nel secondo lungometraggio di Noémie Merlant, presentato fuori concorso al Festival di Cannes 2024,  c’è un po’ di tutto: commedia, body horror, violenza, il paranormale e anche un tentativo di denuncia sociale.

    Nella splendida cornice della città di Marsiglia in estate, soffocata da una ondata di calore, tre amiche condividono un appartamento. Ruby (Souheila Yacoub)  lavora come cam girl, Nicole (Sanda Codreanu)  frequenta un corso di scrittura e sta tentando di pubblicare il suo primo romanzo mentre Élise, interpretata dalla stessa Noémie Merlant, è un’attrice. Una sera si trovano ad osservare dal balcone uno dei vicini, con il quale si scambiano qualche messaggio: loro sono prese ciascuna dalle proprie fantasie, lui è interessato solamente ad essere risarcito da Élise che l’aveva tamponato parcheggiando. Il ragazzo decide di invitarle a bere qualcosa, e quello che succede quella notte in casa sua dà l’avvio al resto della storia. La trama principale è semplice, ma le sotto trame sono numerose e interferiscono l’una con l’altra rendendo le sequenze caotiche: ciascuna delle ragazze ha un’esperienza completamente diversa del problema, con addirittura una di loro ignara dei fenomeni paranormali che infestano il condominio. Il ritmo è incalzante e l’intrattenimento sicuramente non manca.  L’estetica è un altro grande punto di forza: il paesaggio luminoso e ordinato stride con gli avvenimenti e sostiene i pochi momenti di suspense senza mai scadere nel cliché della vita perfetta con un segreto nascosto. 

    Come non fare una commedia femminista 

    The Balconettes ruota tutto attorno ai corpi. Non solo perché si tratta  pur sempre di un horror in piena regola, ma anche perché Noémie Merlant cerca di dare alla storia una chiave di lettura sociale: qui i “cattivi” non sono serial killer ma uomini comuni, e il tipo di violenza che usano è sempre sessuale. Ogni volta che aggrediscono le donne con cui hanno a che fare però, ne diventano vittime. I ruoli classici sono invertiti e viene dichiarato fin dalle prime scene, in modo esplicito, che l’autodifesa non è una colpa. Tocca quindi a questi uomini cattivi, con loro grande stupore e sdegno, vendicarsi delle loro vittime trasformatesi in assassine. Questa intenzione di rivalsa è sottolineata lungo tutta la pellicola dai corpi femminili che occupano prepotentemente lo spazio sia con i gesti, sia con la nudità esplicita che è quasi onnipresente, anche quando non motivata dagli avvenimenti. 

    Se da una parte l’iper sessualizzazione che ne deriva regala allo spettatore alcuni momenti grotteschi abbastanza divertenti, dall’altra purtroppo non è funzionale alla causa che Merlant si propone di sostenere. Non essendoci una ragione per l’ostentazione dei corpi, questa dopo un po’ smette anche di avere l’effetto straniante che può aver suscitato nei primi minuti. Quello che viene messo in scena di fatto è un femminismo ingenuo, basato su un’immagine di cosa sia la libertà estremamente limitata e materiale. Il pensiero dietro alle scelte registiche inoltre viene esplicitato tramite la presenza di piccoli monologhi didascalici – quando non direttamente didattici – da parte delle protagoniste, i quali producono l’impressione di stare guardando una versione più splatter del Barbie di Greta Gerwig. Eseguito in questo modo, il commento sociale non aggiunge nulla né alla commedia, anzi ne appesantisce il ritmo, né alla sostanza dei personaggi, che per farsi portavoce di un messaggio esterno rimangono privi di un arco narrativo proprio. Ad eccezione dell’atteggiamento di Ruby nella prima parte della storia, che però purtroppo ostenta un’immagine stereotipata della sex worker priva di pudore, la scarsa caratterizzazione delle tre protagoniste le rende quasi intercambiabili durante tutta la narrazione. Questo fa sì che lo spettatore difficilmente si interessi alle loro vicende personali. 

    Far coesistere riflessioni sociali importanti con la commedia splatter è un obiettivo ambizioso, per il quale serve una certa padronanza del dark humor che qui purtroppo manca: si ha la sensazione che il discorso morale venga fatto in parallelo al film anziché esserne parte. Paradossalmente la sola scelta di invertire i ruoli di vittima e carnefice, senza i monologhi esplicativi, sarebbe potuta essere più efficace. 

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    Federica Rossi,
    Redattrice.

  • Paprika – Sognando un sogno

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    Questa settimana torna al cinema il capolavoro di animazione di Satoshi Kon (1963-2010) : Paprika – Sognando un sogno (パプリカ Papurika) L’opera di science fiction è stata presentata nel 2006 alla Mostra di Venezia ed è l’ultimo lungometraggio di Kon, adattato dal romanzo omonimo di Yasutaka Tsutsui. Satoshi Kon è anche l’autore di Perfect Blue (1997) e Millennium Actress (2001)

    La trama ruota attorno al Dream Research Institute, che ha sviluppato una macchina, chiamata DC Mini, che consente di entrare nei sogni delle persone per interagire con il loro subconscio. La psicologa a capo del progetto, Atsuko Chiba, inizia ad usarla per aiutare i suoi pazienti, nonostante la macchina sia ancora in fase sperimentale. In particolare,  all’inizio della storia sta cercando di aiutare un poliziotto che soffre di incubi ricorrenti, Toshimi. Quando alcuni esemplari della macchina vengono rubati, diverse persone diventano vittime di episodi di delirio: sembra che la persona che se ne è impossessata stia cercando di connettere tutti allo stesso sogno. Quando Atsuko, nei panni di Paprika, vi si immerge per indagare, trova una grottesca parata simile a un carnevale nella quale i personaggi marciano nello stesso modo in cui le persone colpite vengono viste marciare nel mondo “reale”. Scriviamo reale in questo modo perché in Paprika il confine con il mondo onirico si fa sempre più sottile, i personaggi si scambiano di posto e ciò che avviene in una versione del mondo interagisce sempre più spesso con l’altra. 

    Paprika e Atsuko sono infatti due parti della stessa persona, ma delle quali solo una, la professionista, può esistere nel mondo reale mentre Paprika lavora di nascosto. Hanno un aspetto e caratteri diversi,  eppure Paprika è ugualmente vera, tanto che Atsuko non potrebbe occuparsi dei suoi pazienti senza di lei. 

    Questo ci introduce a un altro grande tema che troviamo in Paprika,  oltre alla inconsistenza della realtà per come la conosciamo: una riflessione sull’atto stesso della narrazione. Toshimi all’inizio afferma di non essere mai andato al cinema, pur apprezzandolo. Non si ferma mai a pensare a come le cose possono essere raccontate, e allora il suo subconscio gli impone una narrazione attraverso gli incubi, fino a quando attraverso eventi che non riveliamo sarà costretto a diventare attore protagonista nel proprio inconscio. La capacità di comprendere la propria storia coincide con la capacità di raccontarla. Kon afferma questo con i suoi personaggi, ma poi lancia una provocazione sul modo in cui ci si può raccontare, e su quanto ciò che vediamo o percepiamo in ogni momento sia attendibile o meno. 

    Paprika è una riflessione stratificata sull’inconscio sia personale che collettivo e sulla relazione tra la psiche individuale e quella sociale. L’originalità del linguaggio con cui tutto questo viene affrontato è sicuramente il punto di forza dell’opera, che infatti è stata d’ispirazione per altri, uno fra tutti Christopher Nolan nella realizzazione di Inception.

    La regia di Kon è magistrale nel gestire il flusso continuo tra sogno e realtà, senza mai perdere il ritmo e mantenendo alta l’attenzione del pubblico, compito non facile, dato che la poca linearità delle sequenze avrebbe potuto rendere il film difficile da seguire. Un certo senso di smarrimento c’è infatti, ma nella misura in cui è sensato che ci sia: ci si sente trascinati insieme ai protagonisti da una versione all’altra della realtà. Questo insieme a un’animazione esteticamente ben costruita e coinvolgente rende Paprika un’esperienza visiva sicuramente meritevole. 

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z_index_hover="" overflow="" 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="" lazy_load="avada" skip_lazy_load="" background_position="left top" background_repeat="no-repeat" background_blend_mode="none" render_logics="" sticky="off" sticky_devices="small-visibility,medium-visibility,large-visibility" sticky_offset="" absolute="off" absolute_top="" absolute_right="" absolute_bottom="" absolute_left="" filter_type="regular" filter_hover_element="self" 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" 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    Federica Rossi,
    Redattrice.

  • Ėjzenštejn – Il potere di un linguaggio

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    Il nome di Sergej Michajlovič Ėjzenštejn è probabilmente meno famoso del titolo del suo primo successo: La corazzata Potëmkin (1925) racconta la storia dell’ammutinamento dell’equipaggio della nave da guerra Potëmkin del 1905, ed è considerato uno dei capolavori del cinema muto, oltre che il manifesto di gran parte delle tecniche da lui sperimentate. Ėjzenštejn nacque nel 1898 a Riga, nell’allora Impero Russo. Cominciò ad avvicinarsi alle arti, inizialmente soprattutto all’estetica e all’architettura, mentre studiava ingegneria a San Pietroburgo. Tuttavia allo scoppio della rivoluzione decise di arruolarsi nell’Armata Rossa, trascorrendo i tre anni della guerra civile come soldato e poi comandante. Trasferitosi a Mosca  nel 1920, poté finalmente dedicarsi al teatro. Lavorò sia come scenografo che come regista e nel 1924 passò dal teatro al cinema, dove trovò il mezzo ideale per mettere in pratica le sue teorie artistiche. A lui si devono infatti diverse tecniche, in particolare di organizzazione del montaggio, che ebbero un impatto fondamentale nello sviluppo del linguaggio cinematografico. Considerava il montaggio la parte più importante del processo creativo perché si era accorto di come decostruire l’ordine in cui il pubblico si aspetta di vedere o sentire qualcosa potesse amplificare notevolmente l’impatto emotivo suscitato. Questo valeva sia per l’ordine cronologico delle azioni che per l’accostamento insolito di immagini, con il quale spingere lo spettatore verso nuove associazioni di idee. 

    Coerentemente con i principi di quello che di lì a poco diventerà il realismo socialista, quasi tutta la produzione di Ėjzenštejn è basata su fatti storici che riguardano la Russia e l’URSS. Il fatto di costruire i propri film principalmente sulla forma, liberandosi dal vincolo di un significato prestabilito, gli permise di sottostare alle imposizioni e continuare ad esprimersi liberamente, protetto dalla facciata del dramma storico: come vedremo, questa genialità si rivelerà un’arma a doppio taglio, perché riuscì a dare un prezioso contributo alla storia del cinema, ma solo fino a quando il contenuto non diventò più apertamente critico. 

    Ottobre 1928  e l’Occidente 

    Fu proprio grazie al successo internazionale di questo film che Ėjzenštejn venne scelto per dirigere il documentario celebrativo Ottobre, uscito nel 1928. Il fatto che il governo sovietico gli avesse dato fondi e totale libertà è un indicatore di quanto la sua reputazione fosse solida già dopo pochi anni di carriera. Il film, che era parte nei numerosi eventi legati al decimo anniversario della Rivoluzione d’Ottobre, ripercorre gli eventi dell’allora Pietrogrado (San Pietroburgo) fino all’irruzione nel Palazzo d’Inverno. Sebbene sia stato inizialmente accolto dalla critica con reazioni contrastanti, oggi è considerato un importante documento storico oltre che un’opera fondamentale del cinema d’avanguardia sovietico. Le obiezioni che gli venivano mosse riguardavano l’eccessivo estetismo, caratteristica mai apprezzata dalla cultura bolscevica, e la grande quantità di sperimentazioni. 

    Subito dopo, Ėjzenštejn lavorò brevemente a Hollywood: nel 1930 accettò un’offerta dalla Paramount Pictures per gli adattamenti di La guerra dei mondi di H.G.Wells e Tragedia Americana di T. Dreiser. Entrambi i progetti fallirono a causa di divergenze con il cast e Ėjzenštejn allora si spostò in Messico, dove ebbe l’idea per il documentario Que Viva Mexico! (1931) anch’esso incompiuto. Nonostante la sua fama, il fatto di essersi contaminato con il mondo del cinema occidentale fu un rischio che ebbe ripercussioni sulla sua reputazione in patria: gli fu ordinato di rientrare da Stalin in persona, che era appena succeduto a Lenin e durante gli ultimi lavori fu sorvegliato molto da vicino. 

    La censura: Ivan il Terribile I e II (1944, 1958) 

    Ivan Il Terribile (in russo Ivan Groznyj)  è l’ultima opera del regista, un lungometraggio epico diviso in tre parti che racconta la vita dello zar Ivan IV. Il progetto non fu mai completato. 

    La Parte I, uscita nel 1944, era stata accolta molto positivamente, tanto da ricevere il Premio Stalin. Tuttavia nel 1946 la seconda parte, il cui titolo era Ivan Grozny II: La congiura dei boiardi venne censurata e di conseguenza furono interrotte anche le riprese del terzo capitolo. Il problema fu proprio la troppa dedizione con cui il regista esplorava la psicologia del protagonista, mettendo al centro la solitudine di chi governa, le sue responsabilità e fragilità. È notevole qui anche l’inserimento di sequenze a colori, cosa molto rara per l’epoca, usate simbolicamente, oltre ad un clima culturale già paranoico, in cui l’accostamento della figura di Stalin a quella di Ivan il Terribile non passò inosservato. 

    Ėjzenštejn morì a Mosca nel 1948. La seconda parte della trilogia verrà pubblicata postuma nel 1958, cinque anni dopo la morte di Stalin, della terza invece rimangono poche sequenze di girato. I suoi testi sulla teoria del montaggio sono pubblicati in Italia da Marsilio Editore. 

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    Corazzata Il Secondo Tragico Fantozzi GIFfrom Corazzata GIFs

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    Federica Rossi,
    Redattrice.

  • Recensione A Complete Unknown – Biografia di uno sconosciuto

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    Non era facile raccontare una persona che non ha mai cercato di farsi conoscere. A complete unknown è diretto da James Mangold e attualmente candidato a otto Oscar, tra cui Miglior film, ed è stato tratto dalla biografia Dylan Goes Electric! di Elijah Wald (2015).

    Il titolo del libro si riferisce alla svolta rock del cantautore, che è anche quindi il periodo su cui si concentra il film. Si tratta di un tempo relativamente breve che va dall’esordio a New York nel 1961, con il primo disco prodotto dalla Columbia che era però una raccolta di cover, seguito dal rapidissimo successo fino al concerto del 25 Luglio 1965 al Newport Folk Festival, che segnò la rottura definitiva con il mondo folk e la comunità che vi ruotava attorno. Il risultato è un biopic immersivo, privo di grandi sorprese ma decisamente piacevole da guardare. L’attenzione per l’uso della luce e dei colori crea un’atmosfera che cattura subito l’attenzione del pubblico. Sono degne di nota anche le performance del cast, in particolare di Timothée Chalamet, Monica Barbaro nei panni di Joan Baez  ed Edward Norton in quelli di Pete Seeger, tutti meritatamente candidati a questa edizione degli Academy Awards. 

    Bob Dylan, il cui nome originale era Robert Allen Zimmerman, è ed è stato tante cose: cantante folk, cantante rock, musicista, cantautore, premio Nobel per la letteratura (2016), icona di un movimento da cui ha avuto bisogno di slegarsi quasi subito. Ha sempre reso evidente quanto l’essere associato a definizioni fosse per lui una costrizione. Iniziò a presentarsi con il nome d’arte di Bob Dylan all’inizio della sua carriera  e finì presto per cambiarlo ufficialmente all’anagrafe. Attraverso soprattutto la relazione con Sylvie Russo (Elle Fanning) Mangold ci mostra una giovane completamente assorbito dalla scrittura e deciso a non lasciarsi definire da nulla che gli sia accaduto in passato, tanto che oltre a cambiare nome racconta di sé fatti incoerenti, rendendo impossibile conoscerlo in un modo che non sia ascoltare le sue canzoni. 

    L’uomo e la musica

    Se da una parte A complete unknown è ben costruito e abbastanza coinvolgente, dall’altra non sfrutta a pieno il potenziale dato da un soggetto così interessante. La parte centrale del film sconfina un po’ troppo a lungo nella vita privata di Dylan, probabilmente nel tentativo di mostrare il lato umano del genio, senza avere le idee chiare su cosa ci fosse da raccontare in proposito. Il rapporto travagliato con la collega Joan Baez è rappresentato superficialmente come un problema di gelosie personali e, sostanzialmente, del suo carattere difficile. Mangold non si azzarda a indagare la storia più di quanto sia necessario a un racconto cronologico, tenendo a distanza sia il mondo interiore del protagonista che le controversie sociali e politiche nelle quali era immerso. Come accade naturalmente con i periodi di grande fermento, è impossibile scindere le posizioni personali di ciascuno dal ruolo che svolgono, se si vuole dare un quadro il più completo possibile. In A complete unknown la storia dell’America di quegli anni scorre quasi sempre parallela alla vita di Dylan, con meno punti di contatto di quelli che sarebbe stato interessante vedere. In favore della regia di Mangold si può comunque affermare che quelli che ci sono sono realizzati con maestria: per citarne uno su tutti, la crisi dei missili di Cuba del 1962, durante la quale, nell’apprensione generale, Dylan è sul palco di un locale newyorkese e le sue canzoni parlano per lui. Sono giustamente numerose le scene dedicate esclusivamente alla musica, nelle quali Chalamet fa un lavoro magistrale di interpretazione e controllo della propria voce. 

    Purtroppo notiamo che lo stesso distacco per la questione politica è stato riservato al dietro le quinte della produzione musicale. Highway 61 Revisited viene citato nel film come l’album pivotale del percorso, quando in realtà sei mesi prima del Norfolk Folk Festival era uscito Bringing it all back home, sempre prodotto dalla Columbia, con un sound già decisamente blues che ha fatto da ponte per l’evoluzione successiva. Maggie’s Farm, con cui nel film si apre il breve concerto con la band, viene da questo disco. Non viene fatto nessun tentativo di esplorare il processo creativo, o quantomeno le possibili tappe di questi anni, ad eccezione di alcuni brevi dialoghi con Johnny Cash (Boyd Holbrook). 

    Conclusioni

    Per concludere bisogna ricordare che questo era probabilmente l’unico modo di raccontare un artista che è stato effettivamente elusivo per tutta la vita: qualunque commento più approfondito sarebbe stato una congettura più che un elemento biografico. Questo approccio fa sì che il materiale non sia del tutto sufficiente a reggere 140 minuti di film, la parte centrale di cui sopra perde ritmo, ma il problema si risolve presto appena il racconto entra nel vivo dei fatti del 1965, fino al climax del concerto. A complete unknown rimane una biografia ben fatta e, per quanto possibile, fedele al personaggio. 

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    Federica Rossi,
    Redattrice.

  • Recensione Amerikatsi – Come salvare una nazione

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    Finalmente è disponibile nelle sale italiane Amerikatsi (Ամերիկացի, “americano” in armeno) la commedia drammatica di Michael A. Goorjian uscita nel 2022. Nel 2024 il film era stato candidato per rappresentare l’Armenia tra i migliori film stranieri della 96esima edizione degli Oscar. Goorjan è nato a San Francisco ed è armeno da parte di padre: i suoi nonni emigrarono per scampare al genocidio perpretrato nel 1915 dall’allora Impero Ottomano. Dopo aver diretto Entanglement nel 2012 si era dedicato esclusivamente alla recitazione, per poi scegliere di scrivere e dirigere personalmente Amerikatsi per portare al pubblico la storia della propria famiglia e, di conseguenza, del suo paese di origine. Goorjian, che è anche l’interprete principale, immagina che un giovane cittadino americano come era suo nonno avesse deciso di tornare in Armenia durante l’occupazione sovietica. 

    Charlie, questo il nome del protagonista, arriva a Yerevan con grande entusiasmo ma anche con molto poca conoscenza del contesto: siamo nel 1948 e l’Armenia è ormai una repubblica dell’URSS staliniana. Il nostro eroe si ritrova subito coinvolto nei disordini scoppiati in strada durante la distribuzione delle razioni di pane, salva un bambino dall’essere trascinato via dalla folla e lo riporta alla madre Sona (Nelli Uvarova). La donna si rivela essere la moglie di un comandante russo (Mikhail Trukhin), tuttavia lei è armena ed è quindi entusiasta di conoscere un connazionale rimpatriato. Lo invita a cena, ignara del fatto che il povero Charlie, che non parla né armeno né tantomeno il russo, verrà scambiato per una spia americana, accusato di cosmopolitismo e internato in attesa del trasferimento in una colonia penale siberiana. Inizia così la sua permanenza nella madre patria, e tutta l’esplorazione della cultura locale che si aspettava di fare può avvenire solo attraverso una finestra. 

    Il problema dell’identità 

    I rimpatriati sono una vera e propria categoria, abbastanza numerosa, e come tali vengono apostrofati dalle guardie. Non viene esplicitato se siano tutti accusati di spionaggio, o se ci siano altre ragioni per cui debbano essere trattati diversamente dagli altri, e l’impressione che si ha è che questo non abbia importanza: l’essere cresciuto al di fuori è una caratteristica sufficiente a creare un divario apparentemente incolmabile. Charlie e i suoi compagni di prigionia incarnano il limbo identitario che qualunque diaspora produce: nei decenni il paese è cambiato, non conoscere la propria cultura è una colpa, volersene appropriare ora è lo stesso una colpa. In questo caso specifico, inoltre, esploriamo un secondo livello di dualismo: gli americani sono nemici dell’URSS, ma questi americani sono anche armeni e questi soldati dell’URSS sono armeni anche loro. 

    Charlie osserva la vita quotidiana in casa di Tigran, condividendone a distanza le attività fino a instaurare una bizzarra amicizia silenziosa con il soldato. Assistiamo insieme a lui alle feste in cui si cantano canti popolari, impariamo in quale ordine si dedicano i brindisi e quali sono le ricorrenze più importanti. Il protagonista arriva a scambiare le sue sigarette con fogli di carta per imparare a scrivere in armeno e poter comunicare con Tigran, ma per ogni soldato disposto a chiudere un occhio ne incontriamo un altro inamovibile, e nessuno è disposto ad ammettere che Charlie Chaplin, come l’hanno soprannominato, sia se non innocente almeno una brava persona. Non c’è una morale che alla fine risolva definitivamente questo conflitto, e il film non ci risparmia gli aspetti più violenti della condizione dei rimpatriati, ma la sensazione che emerge attraverso la caparbietà del protagonista è comunque di grande speranza per il futuro del popolo armeno, che continua ad esistere nonostante le frammentazioni storiche e culturali. 

    L’importanza della commedia 

    Goorjian racconta il suo paese d’origine con onestà e con una grande sensibilità nei riguardi delle mancanze umane e persino delle ipocrisie di tutti i personaggi coinvolti. Oltre a sviluppare una trama di una certa originalità, ha il grande merito di trasmettere la drammaticità della situazione senza mai scadere nel vittimismo fine a sé stesso. Amerikatsi è un racconto che pretende di restare positivo, e riesce nel difficile compito di spiegare un problema serio senza prendersi troppo sul serio. È alleggerito da momenti comici perfettamente calibrati: si finisce per provare sincera empatia per i personaggi, a volte ridendo anche di gusto davanti ai discorsi folli di un anziano o ai fraintendimenti con i soldati che provano a parlare inglese. Si tratta senza dubbio dell’opera meglio riuscita di Goorjian fino a questo punto, completata per di più da una fotografia estremamente curata.

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z_index_hover="" overflow="" 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="" lazy_load="avada" skip_lazy_load="" background_position="left top" background_repeat="no-repeat" background_blend_mode="none" render_logics="" sticky="off" sticky_devices="small-visibility,medium-visibility,large-visibility" sticky_offset="" absolute="off" absolute_top="" absolute_right="" absolute_bottom="" absolute_left="" filter_type="regular" filter_hover_element="self" 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" 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    Federica Rossi,
    Redattrice.

  • Alice Rohrwacher – I cortometraggi

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    Nata nel 1981, Alice Rohrwacher ha esordito nel 2011 con il lungometraggio Corpo Celeste, presentato a Cannes. Da allora ha già ricevuto diversi riconoscimenti ed è una delle voci più originali del panorama italiano contemporaneo.

    Nel 2014 Le Meraviglie ha vinto il Grand Prix Speciale della Giuria al Festival di Cannes, a questo sono seguiti  Lazzaro felice (2018) che La chimera (2024) -di cui trovate la recensione qui– che hanno ricevuto numerose candidature ai David di Donatello, con il primo vinse anche come miglior sceneggiatura a Cannes. I suoi cortometraggi sono tuttavia meno conosciuti, ma non per questo meno degni di attenzione. Ad eccezione di De Djess del 2015, Rohrwacher ha iniziato a lavorare più spesso a questo formato a partire dal 2020. Ciò che rende questa parte della sua produzione particolarmente interessante è il fatto che ogni corto costituisca un approfondimento monotematico di uno degli elementi che compongono ogni lungometraggio della regista: l’approccio documentaristico, la religione, la vita rurale, l’infanzia e il realismo magico.

    Temi principali 

    Alice Rohrwacher si distingue soprattutto per una particolare sensibilità verso il mondo rurale, dimensione da cui lei stessa proviene essendo cresciuta in provincia di Terni dove il padre era un apicoltore. Questa dimensione nelle sue opere è spesso abitata dall’innocenza: in Lazzaro Felice così come nei cortometraggi Quattro strade e Omelia contadina, il contatto con la natura esalta le caratteristiche positive dell’umanità. Questa umanità semplice e innocente entra in conflitto con la modernità, e spesso questa scoperta viene rappresentata in scala ridotta: in Corpo Celeste e nei corti Le pupille e Allegoria cittadina, l’innocenza è incarnata nei bambini che si scontrano con gli adulti attraverso vicende quotidiane, ed imparano a scoprire la complessità nello stesso modo in cui il mondo su larga scala progredisce e incontra la complessità dei tempi moderni. 

    Quattro Strade

    Questi ultimi titoli contengono inoltre il secondo tema ricorrente: la religione. Questa al contrario della campagna non appartiene all’esperienza personale della regista. L’interesse per la spiritualità si traduce nell’utilizzo di interventi soprannaturali, soprattutto nelle pellicole ambientate in contesti rurali, a volte accostati a citazioni esplicite (vedasi per esempio il personaggio di Lazzaro). Racconta anche la chiesa in quanto istituzione, descritta però con un approccio di gran lunga più documentaristico e meno fiabesco: un esempio su tutti è la parrocchia del paese in Corpo celeste. Nella sua veste istituzionale la religione viene associata alla vita di città, e quindi alla perdita di significato della modernità, mentre la spiritualità rappresentata nei contesti rurali o dall’infanzia è talmente viva da pervadere tutta l’atmosfera, e queste sono anche le scene in cui sono più numerose le carattersitiche del realismo magico.  

    I cortometraggi

    Le Pupille

    Come già accennato la produzione massiccia di cortometraggi è iniziata nei periodi di quarantena durante la pandemia, che lei trascorse nella casa di famiglia in campagna. Non potendosi avvicinare a nessuno, ebbe l’idea di utilizzare la macchina da presa a pellicola da 16mm che aveva in casa per osservare i suoi vicini e raccontare come stessero trascorrendo le giornate di solitudine. Da queste riprese è nato Quattro Strade, uscito nel 2021 e attualmente disponibile su MUBI. È un breve documentario narrato da lei stessa che presenta quattro personaggi, uno per ciascuna delle strade che la regista poteva percorrere a piedi dal suo cancello.

    Omelia Contadina (2020) è invece il montaggio delle riprese, in gran parte aeree, di un evento artistico organizzato come protesta verso l’industrializzazione forzata dei processi di coltivazione che sta colpendo le campagne italiane.  Mostra una processione di contadini che trasportano delle gigantografie, fermandosi di tanto in tanto per leggere brevi discorsi, come fosse una via crucis. Si tratta più di un manifesto politico utilizzato come esercizio di stile che di un racconto vero e proprio, ma è apprezzabile anche per l’atmosfera suggestiva, per quanto cupa, che riesce a trasmettere.

    Le pupille (2022) porta invece sullo schermo le contraddizioni della religione moderna, ovvero quella vissuta come insieme di doveri e formalità che limitano l’esperienza umana anziché incoraggiarla. Come in Corpo Celeste anche qui la protagonista è una bambina, che si ribella all’imposizione delle suore di rinunciare alla zuppa inglese a Natale. È stato candidato agli Oscar come miglior cortometraggio nell’edizione del 2023.

    Jay in Allégorie Citadine

    Le fil rouge (2023) è brevissimo ed è il più onirico dei cortometraggi. È stato girato su pellicola come Quattro Strade e ne richiama l’ambientazione, mentre il tema è strettamente legato a quello esplorato in La Chimera: Yle Vianello, che nel lungometraggio interpreta Beniamina, qui racconta al pubblico il mito di Orfeo e Persefone, costruendo una riflessione sul rapporto umano con il sottosuolo e sulla ricerca di ciò che è perduto.

    Nel 2024 è uscito Allégorie Citadine (Allegoria cittadina) co-diretto insieme all’artista francese JR. Stavolta il testo a cui si ispira è il mito della caverna di Platone, e anche qui la voce narrante è di un bambino: come uno dei prigionieri della caverna che si avventura all’esterno, Jay (Naïm El Kaldaoui) scappa dal teatro dove la mamma sta partecipando a un provino e inizia un viaggio attraverso le strade di Parigi. Allegoria cittadina raccoglie tutto il lavoro precedente in una piccola fiaba dall’atmosfera estremamente onirica che mette al centro la scoperta di nuove dimensioni della realtà.

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    Federica Rossi,
    Redattrice.

  • Recensione Immémorial, Chants de la grande nuit – Torino Film Festival 2024

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    Béatrice Kordon aveva già trattato il tema della divinità e dell’origine del mondo in un lavoro precedente “Dithyrambe pour Dionysos” (2008), per poi dirigere Les insensés, fragments pour un passage (The Senseless) (2020). Immémorial, in concorso al Torino Film Festival nella sezione documentari, raccoglie anni di sperimentazione nel genere e nella creazione sonora. Si tratta di un documentario sulla morte, o meglio sull’esistenza stessa del fenomeno a cui abbiamo dato questo nome, e che qui è “la grande notte”. 

    La riflessione inizia proprio dalle origini del fenomeno, con una versione della genesi che unisce al racconto biblico elementi comuni a molte mitologie: durante la grande notte gli dei decisero di rompere il silenzio creando la materia, con essa gli esseri umani, e dentro gli umani c’era la parola. È stato l’uomo poi, scoprendo la violenza attraverso l’omicidio di Abele, ad accorgersi che si può tornare indietro in qualunque momento. Il racconto religioso dell’esperienza umana finisce qui e lascerà il posto a una osservazione strettamente antropologica di tutti i modi in cui questo fenomeno esiste nel nostro presente, al pari del freddo o di altre caratteristiche del mondo. La morte non è trattata come un passaggio a qualcosa che esiste dopo, e nemmeno ci si pone la domanda se questo dopo esista, bensì come lo spunto per scoprire come in ogni cultura si sia tentato di entrarvi in contatto. 

    La voce narrante alla fine della parte introduttiva chiede, direttamente agli spettatori: sapete se siamo all’inizio o alla fine? Da qui in poi non ci saranno commenti né dialoghi, il documentario è una raccolta di immagini, organizzate in sequenze ordinate, a prima vista come fosse un archivio qualunque. Questo non significa che non sia evidente che si tratta di un lavoro d’autore, ma la costruzione è mantenuta il più essenziale possibile. Béatrice Kordon lavora quasi esclusivamente con il suono e l’immagine per comporre quello che è di fatto un quadro e non una narrazione che si sposta nel tempo: un unico documento che racchiude più informazioni possibili sul tema, coerentemente con l’esperienza personale che l’autrice racconta di averne avuto: 

    “La linearità del tempo e i contorni dello spazio gradualmente avevano perso le loro abituali caratteristiche, aprendomi a un mondo che sembrava essersi improvvisamente ampliato, allo stesso tempo sereno e caotico». 

    Le quattro “canzoni” nelle quali è diviso sono quattro capitoli indipendenti. A turno ogni capitolo propone visioni notturne, da cui traspira un profondo senso di immobilità e sconforto, oppure documentazioni di feste di paese e riti con i quali la vita prosegue alla luce del sole. Ogni azione quotidiana continua ad essere compiuta anche in prossimità della morte, per le strade e nei cimiteri ma anche dentro le case. La raccolta di materiali d’archivio è molto ampia: assistiamo a processioni e feste di ogni tipo in svariati paesi dell’Europa, tra cui anche l’Italia. Gli unici momenti in cui si sentono voci umane sono quelli in cui qualcuno canta. La visione della morte come semplice caratteristica e non come mistero da comprendere è ribadita dal ruolo che gli esseri umani ricoprono quando interagiscono con la natura che li circonda: sia che si tratti di animali o di alberi abbattuti, sia che si stia raccontando la distruzione portata dalla guerra tra uomini, non emerge mai un tono d’accusa. La scoperta che l’uomo ha fatto all’inizio della sua storia con la violenza tra Caino e Abele non viene trattata diversamente dalla valanga che soffoca il bosco, anzi, l’unica differenza che la nostra specie sembra poter vantare rispetto ad altre è questa capacità di raccontarsi a cui stiamo assistendo. 

    La coesione è sicuramente uno degli elementi di forza del documentario: la quantità di lingue diverse che si susseguono, senza che appaia mai un riferimento geografico o temporale sullo schermo, restituiscono paradossalmente una sensazione di grande unità, perché la differenza di suoni è perfettamente bilanciata dalle similitudini tra le immagini. L’altro elemento di coesione è dato dalle parti dedicate alla natura la quale, a differenza delle lingue umane, non cambia attraverso le epoche e i paesi. I rumori dell’acqua e degli animali accompagnano costantemente lo spettatore, a volte attraverso il buio, altre volte insieme a scene dal tono epico di disastri naturali. La scelta di non includere alcun tipo di dialogo, per quanto funzionale alle intenzioni dell’autrice, pesa sul ritmo, a causa anche del minutaggio un po’ troppo elevato per la quantità di contenuti. 

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    Federica Rossi,
    Redattrice.

  • Recensione Berlinguer – La grande ambizione

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    Andrea Segre ci porta nell’Italia degli anni Settanta con un documentario che ha sí al centro la figura di Enrico Berlinguer, interpretato da un ottimo Elio Germano, ma che raffigura anche e soprattutto un’immagine di insieme dell’Italia di quegli anni. Il film, infatti, segue la vita personale e politica del segretario del PCI dal 1973 al 1978. Inizia con l’attentato in Bulgaria e il viaggio a Mosca, eventi che sancirono l’allontanamento del partito dal blocco sovietico, per poi ripercorrere la parabola del partito dal successo del referendum sull’aborto al governo con la Democrazia Cristiana, fino al ritrovamento del corpo di Aldo Moro. 

    L’approccio è quasi interamente documentaristico, in alcuni momenti anche didattico, per esempio quando ascoltiamo Berlinguer spiegare il principio di uguaglianza ai figli piccoli. Non mancano tuttavia scene di un certo impatto, dovute sia alla già citata bravura di Germano e del resto del cast (ricordiamo tra gli altri Elena Radonichic, Roberto Citran  e Andrea Pennacchi) sia alla cura per i dettagli, dalla fotografia all’esecuzione de L’internazionale cantata in russo nella scena del comizio in URSS. I numerosi materiali di archivio sono perfettamente integrati nel girato moderno. 

    Una considerazione che viene da fare proprio per via del potenziale di questo film è che si sarebbe potuto approfondire il lato umano del protagonista. Risulta quasi assente, infatti,  il lato introspettivo del racconto:  seguiamo gli eventi da spettatori che incontrano la figura di Berlinguer solo appena più approfonditamente di come avrebbero potuto fare le persone intorno a lui nel partito. Al centro c’è sempre il discorso politico,  persino dentro casa sua dove si trova spesso interrogato dai figli adolescenti: il suo pensiero umano, sia per quanto riguarda il rapporto con loro sia con la moglie è appena accennato, per quanto nei momenti in cui emerge sia trattato con la stessa cura di tutto il resto. 

    Da una parte questo non deve essere necessariamente un difetto, per due motivi. Il primo è che un film così incentrato sulla parola, sul dibattito e sul valore del discorso pubblico (vediamo spesso Berlinguer che incontra gli operai e i membri del partito per strada e risponde alle loro domande, per poi passare altrettanto tempo nei salotti a rispondere alle domande di compagni e oppositori) è perfettamente coerente con il personaggio storico che vuole raccontare. In secondo luogo, se l’intenzione era produrre un documentario e non un drama, il risultato è indiscutibilmente ben fatto e piacevole da guardare.  Dall’altra questo approccio penalizza il ritmo del racconto e il tono, che si percepisce monocorde per la maggior parte del tempo e quindi rende faticoso mantenere l’attenzione per chi conosce già gli eventi trattati. Non essere estremamente celebrativi è sicuramente un bene, ma il troppo equilibrio dei contenuti in questo caso sembra aver in parte soffocato la parte creativa dell’opera.

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z_index_hover="" overflow="" 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="" lazy_load="avada" skip_lazy_load="" background_position="left top" background_repeat="no-repeat" background_blend_mode="none" render_logics="" sticky="off" sticky_devices="small-visibility,medium-visibility,large-visibility" sticky_offset="" absolute="off" absolute_top="" absolute_right="" absolute_bottom="" absolute_left="" filter_type="regular" filter_hover_element="self" 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" transform_type="regular" 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="" content_alignment_medium="" content_alignment_small="" content_alignment="" 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    Federica Rossi,
    Redattrice.

  • Recensione La storia del Frank e della Nina – Favole urbane

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    Il bello delle fiabe, e di tutte le storie raccontate con il loro tono naïf e leggero, è poter parlare del pericolo o di altri argomenti molto drammatici in un’atmosfera che li renda più facilmente comprensibili e affrontabili. La storia del Frank e della Nina, che di fatto è innanzitutto un romanzo di formazione, perché racconta la storia di tre adolescenti alla ricerca di un posto nel mondo, decide di essere anche una fiaba. Purtroppo non riesce sempre a tenere insieme i due generi, restando sulla superficie della trama per la maggior parte del tempo, ma ne trasmette perfettamente il lato innocente e positivo.

    Presentato alla Biennale di Venezia in Orizzonti Extra, è scritto e diretto da Paola Randi ed è una co-produzione di Fandango, Rai Cinema e RSI (Svizzera). Il narratore di tutta la vicenda è Gollum (Gabriele Monti), un adolescente muto, del quale quindi ascoltiamo solo i pensieri nella forma di un voice over costante. Gollum ci presenta il Frank, (Samuele Teneggi) un suo coetaneo che non vive con i genitori -sostiene siano morti- e frequenta l’università senza essere iscritto, avendo abbandonato il liceo prima della maturità. Un giorno, nel cortile sotto casa, Gollum incontra la Nina (Ludovica Nasti), una ragazza madre con un marito violento e che non ha registrato la figlia per paura che i servizi sociali gliela portino via. Nina chiede a Frank di aiutarla a studiare, di nascosto dal marito, per poter prendere il diploma di terza media. Quando il duce, così si fa chiamare l’uomo, li scopre, i ragazzi fingono di voler aiutare lui a guadagnare e si uniscono al suo clan di ladri, con la prospettiva di prima o poi fuggire da Milano e costruirsi una vita più sicura. 

    Nonostante l’ambientazione contemporanea e urbana della periferia milanese, gli archetipi dei personaggi delle favole sono evidenti: c’è l’orco cattivo, il marito di Nina, il mago, ovvero il comandante, (interpretato da un Bruno Bozzetto in splendida forma) l’angelo custode nei panni di Gollum, che sacrifica la propria infatuazione per Nina pur di mantenere l’armonia del gruppo. Appare quasi come un gobbo di Notre Dame in chiave moderna, poiché anche la deformazione che lo rende muto non viene mai trattata per quello che è nella vita reale, ovvero una disabilità, ma come una caratteristica appunto di un tipo di personaggio. Frank è forse il personaggio che appare più stereotipato anche in questa chiave di lettura: è un Peter Pan costantemente in fuga, almeno fino a quando non viene a galla il pezzo mancante della sua storia – di cui non parleremo qui per non fare spoiler. Gollum dice di Frank che vuole essere invisibile, “i grandi non devono vederlo” perché altrimenti inizia ad esistere, e lui non vuole esistere. Nina è ovviamente la principessa: sposa bambina, di etnia rom, è in maniera fin troppo didascalica l’immagine idealizzata di qualcuno da salvare, poiché prigioniera della vita reale e del mondo degli adulti che le è stato imposto. 

    Più ancora delle atmosfere a là Alice Rohrwacher, che viene citata esplicitamente in una scena, La storia del Frank e della Nina può ricordare una versione meno epica del Freaks Out di Gabriele Mainetti (2021), non solo per l’estetica dei protagonisti -che può essere una semplice coincidenza- ma per il misto di rabbia e rassegnazione con cui questi personaggi, che hanno in comune l’essere in qualche modo deformi e non conformi alla società, decidono di vivere insieme e crearsi da soli una casa accogliente. 

    Questa impostazione fiabesca è l’arma a doppio taglio che rende il film particolare ma allo stesso tempo lo appiattisce. Si richiede allo spettatore un certo sforzo al di là della normale sospensione dell’incredulità: qui è necessario accettare un certo tipo di linguaggio applicato ad argomenti e contesti che si prestano poco: la violenza domestica, la disabilità, la malattia mentale. Il tono leggero avrebbe potuto aiutare ad avvicinarsi a discorsi faticosi ma la trama non scava mai davvero nel background di nessun personaggio. Vengono trascurati soprattutto alcuni aspetti delle loro motivazioni: non è chiaro, per esempio, il motivo per cui Nina avesse avuto il permesso di sposarsi da minorenne, poiché il film non entra mai nei dettagli del suo rapporto complicato con la madre. Allo stesso modo rimane nascosta la sofferenza di Frank, nonostante possiamo intuirne l’esistenza attraverso le osservazioni silenziose di Gollum. 

    Un lato dell’originalità del film che invece è ben riuscito è la visione di Milano, che fa da sfondo all’intera vicenda. Paola Randi ci racconta la città vera, quella vissuta dalle persone comuni che ci sono nate o ci si sono trovate quasi per caso. Per la maggior parte del film non si indovinerebbe che si tratta del capoluogo lombardo se non fosse per alcune riconoscibili inquadrature dei grattacieli. Ci vengono mostrati invece le case dei protagonisti, i capannoni abbandonati, il tristemente noto boschetto di Rogoredo e la balera dell’Ortica: una versione di Milano che esisteva da ben prima dello sviluppo dell’ultimo decennio e che il pubblico non è così abituato a ritrovare sullo schermo. 

    Nell’insieme La storia del Frank e della Nina resta in equilibrio precario tra la favola contemporanea – che è tutto sommato divertente da seguire – e il rischio di romanticizzare situazioni di disagio sociale e umano che avrebbero avuto bisogno di essere raccontate con più spessore.

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z_index_hover="" overflow="" 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="" lazy_load="avada" skip_lazy_load="" background_position="left top" background_repeat="no-repeat" background_blend_mode="none" render_logics="" sticky="off" sticky_devices="small-visibility,medium-visibility,large-visibility" sticky_offset="" absolute="off" absolute_top="" absolute_right="" absolute_bottom="" absolute_left="" filter_type="regular" filter_hover_element="self" 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" 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    Federica Rossi,
    Redattrice.

  • Recensione Limonov – La rivoluzione vista da dentro

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    Dopo il film-documentario Leto (2018),  Kirill Serebrennikov torna a occuparsi di biografie, portando sullo schermo la vita controversa di Eduard Limonov, all’anagrafe Ėduard Veniaminovič Savenko (1943-2020) in Limonov – The Ballad.

    Il biopic è tratto dall’omonimo libro di Emmanuel Carrère (Adelphi, 2012) ed è stato presentato in concorso a Cannes a maggio 2024. È stato girato principalmente in inglese con un Ben Whishaw abbastanza convincente nei panni del protagonista, nonostante gli sia stato chiesto di recitare con l’accento russo e il risultato suoni spesso molto stereotipato. Ad eccezione di questo dettaglio, è in realtà una scelta che ha funzionato nel rendere il racconto immersivo e dargli l’aspetto di un vero documentario. Il film è diviso in capitoli tematici che associano a ciascun elemento (patria, rivoluzione, gloria, tempo, guerra, destino) una fase della vita di Limonov, scrittore e dissidente politico. 

    La prima parte è un po’ meno godibile del resto per il fatto che Serebrennikov riproduce rigorosamente l’ordine cronologico dei fatti, dando tanto spazio alla gioventù del protagonista quando, da un punto di vista strettamente narrativo, gli eventi significativi si concentrano più avanti: questo penalizza un po’ il ritmo, che poi però accelera e compensa con uno sviluppo più coinvolgente. Ben Whishaw nei panni del giovane Eddie si fa detestare facilmente per tutta la prima ora del film: d’altra parte però è esattamente come ci si aspetta che sia un giovane egocentrico e carico di un risentimento che non sa ancora indirizzare. Prima dell’impegno politico c’era solo il desiderio di grandezza di un ragazzo che scriveva poesie, si innamorava facilmente ma allo stesso tempo disprezzava gran parte della società. L’infatuazione in Limonov è infatti quasi sempre una proiezione di sé, della propria ricerca del piacere, più che un vero apprezzamento rivolto all’esterno.

    I corpi e le ossessioni

    I personaggi femminili principali sono per lo più figure generiche, prive di un carattere proprio ma sulla quale semplicemente si riflette l’ambizione anarchica di Limonov. Così come inizialmente c’è Anna (Maša Maškova), molto simile a lui e che quindi viene abbandonata insieme alla casa d’origine, poi c’è Lena (Viktorija Mirošničenko), la prima donna che incontra a Mosca e che al momento dell’esilio -vissuto da loro come una liberazione dal grigiore dell’URSS- lo seguirà a New York. Per lei Limonov compie gesti estremi senza esitazione. Da una parte sappiamo che l’ossessione è un tema ricorrente nell’opera di Serebrennikov, dall’altra questa volta Lena non sarà il vero centro di tutto ma, come è realistico che sia trattandosi di Limonov, solo il motore di una delle transizioni della storia. Il sesso nella vita di Eddie è un mezzo come un altro per interagire, con sé stesso e con gli altri, e per sfogare la passione travolgente e talvolta malsana che lo caratterizza. Qual’è il fine di questo continuo tentativo di comunicare? Lui – o almeno la versione di lui che conosciamo tramite i suoi scritti e la biografia- non ha mai cercato la fama per un vantaggio materiale, ogni sua decisione è frenetica e mossa da un senso di ingiustizia estremamente profondo, vissuto prima sul piano personale e poi su quello sociale.

    Il protagonista rimbalza in continuazione da un episodio all’altro in una sorta di odissea dai toni più punk che epici, in un’atmosfera impregnata della controcultura degli anni Settanta, con la sua estetica, la sua musica e l’immancabile citazione di Taxi Driver. È molto difficile, a volte quasi impossibile, distinguere quello che accade realmente da quello che Limonov immagina. Non si intuiscono nell’espressività del protagonista momenti di dubbio o ripensamento, e le transizioni non lasciano troppo tempo allo spettatore per fare congetture. Mentre la frenesia si affievolisce, man mano che Limonov vede finalmente pubblicati i suoi libri e trova il modo di sfruttare la società a suo vantaggio standoci dentro, il rifiuto di qualunque autorità rimane. Tornato in patria, fonda il partito nazional-bolscevico e affronta il carcere come dissidente. 

    Raccontare la complessità 

    Carrère  nel romanzo biografico dichiara: “Lui si vede come un eroe, ma lo si può considerare anche una carogna: io sospendo il giudizio.” Serebrennikov ha deciso di essere provocatorio e politico e non poteva scegliere un soggetto migliore. Il regista considerato dissidente nella Russia di oggi ha voluto comporre un ritratto fedele e coinvolgente di un uomo che invece la Russia di oggi aveva finito col difenderla: cresciuto a Kharkiv, portava un cognome ucraino, e nonostante l’esperienza dell’esilio e del carcere ha combattuto insieme ai separatisti in Donbass dopo il  2014. Resta il dubbio che anche l’impegno sociale e il desiderio di fondare un partito siano nati per gloria personale, come proiezione della propria rabbia. Limonov da questo racconto sembra aver fatto coincidere la propria persona con la rabbia di una nazione intera solo per poterne giustificare l’esistenza. Serebrennikov ha raccontato tutto questo con la consapevolezza che solo chi ci è nato dentro, nella complessità della questione identitaria e politica russa, può avere: un buon film su un personaggio del genere può far conoscere, intrattenere e far riflettere, senza la presunzione di risposte che al momento non ha nessuno. 

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    Federica Rossi,
    Redattrice.