FRAMES CINEMA

Tag: federica rossi

Recensione Gli Indesiderabili – Domande senza risposta

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Dopo il successo ottenuto al suo esordio con Les Misérables (2019), il regista e sceneggiatore francese Ladj Ly torna a raccontare i sobborghi parigini in Gli Indesiderabili. Stavolta lo fa attraverso le vicende di Haby (Anta Diaw), residente dell’edificio 5 che dà il titolo originale al film, e del nuovo sindaco Pierre Forges (Alexis Manenti).

Il nome del quartiere Montvilliers è fittizio, rappresenta simbolicamente tutte le comunità di questo tipo realmente esistenti, tuttavia gli elementi autobiografici non mancano neanche in questa pellicola: Haby è di origine maliana come il regista e nomina più volte Les Bosquets, il blocco residenziale di Montfermeil dove è cresciuto.

La storia si apre con una lunga sequenza nella quale un gruppo di uomini cerca di trasportare una bara lungo le scale strette e buie dell’edificio 5: un complesso fatiscente dove abitano centinaia di stranieri di diverse provenienze, stipati in condizioni pericolose in attesa di poter affittare dei nuovi appartamenti che non arrivano mai. In maniera un poco didascalica ma sicuramente efficace ci viene presentato subito il punto di vista di questa parte della popolazione, attraverso le parole della madre di Haby: come è possibile vivere e morire in un posto del genere?

Da una parte la perdita della nonna sembra essere la spinta per la quale la ragazza aumenterà il proprio impegno sociale e politico, parallelamente la morte improvvisa del sindaco costringerà Pierre Forges ad accettare il suo incarico, per portare avanti un progetto di rinnovo urbano appena iniziato. Forges è un uomo insicuro e schivo, che cercherà di affermare la propria autorità con metodi reazionari. Di fronte a decreti sempre più ingiusti e agli interventi della polizia nel quartiere, Haby prende la decisione di candidarsi a sindaco al suo posto. Il punto di incontro tra le due realtà è il vice sindaco Roger Roche (Steve Tientcheu), anche lui di origine africana ma molto severo nei confronti della sua stessa comunità.

Gli indesiderabili è un discorso sulla politica fatta dal basso e su cosa questa debba significare, anche se purtroppo non approfondisce il tema: si limita ad una sequenza di fatti. Questi fatti hanno la funzione di denuncia degli abusi commessi dalle autorità o di presentare punti di vista diversi da quella di Haby, come nel caso di Blaz (Aristote Luyindula) che è estremamente disilluso, ma l’arco narrativo sembra interrompersi a metà. L’esempio più palese è la campagna elettorale di Haby, filo conduttore che finisce per non avere né una conclusione né un ruolo nel finale della pellicola.

Lo stesso destino tocca ai personaggi, che rimangono nettamente separati in buoni e cattivi, dato che ogni climax in cui iniziamo a vedere le conseguenze della frustrazione dei cittadini si risolve nella retorica ormai abusata del dover essere “migliori di loro”. Questo tipo di approccio non è del tutto sufficiente a restituire la reale complessità della vita delle banlieue: dato che il parallelo tra Haby e il sindaco è una falsa equivalenza, per via dei contesti di provenienza e delle motivazioni diversissime che li guidano, è un peccato che non venga fatto il passo successivo di mostrare le conseguenze pratiche di questa disuguaglianza, ovvero la reale differenza di significato che ogni azione può avere per un personaggio o per l’altro. La premessa che Ladj Ly fa già all’inizio della storia è che le vittime sono vittime e non esistono zone grigie quando si tratta di diritti umani, dopo di ché si è persa l’occasione di far incontrare al pubblico queste vittime come persone reali, ciascuna con un carattere e delle sfumature.

Questo film è anche un dramma, che in alcuni momenti si fa intenso e violento (anche grazie alla fotografia che è uno dei suoi punti di forza) ma a causa di questa presentazione piuttosto piatta l’impatto emotivo svanisce sempre in fretta. Rimane l’impressione che ci fossero i presupposti per raccontare molto di più, dato che le domande che pone sull’esistenza di una parte di umanità “indesiderabile” sono fondamentali e complesse.

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Federica Rossi,
Redattrice.

July 14, 2024
Recensione Kinds of kindness – Lanthimos ritorna alle origini

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A soli sei mesi di distanza da Poor Things, che appartiene al filone più hollywoodiano della sua produzione e ha ricevuto 4 Oscar nell’edizione appena passata, Yorgos Lanthimos torna nelle sale con Kinds of kindness. In concorso a Cannes 2024, il film è stato scritto a quattro mani con Efthymis Filippou, storico co-sceneggiatore di Lanthimos che aveva firmato, tra gli altri, anche The Lobster (2015) e il Sacrificio del cervo sacro (2017).

Si tratta di un’antologia nella quale le tre storie raccontate non si incrociano mai, pur avendo in realtà molto in comune. Le riprese si sono svolte durante la post produzione di Poor Things, con un budget ridotto (15 milioni di dollari, contro i 35 del film precedente) e parte dello stesso cast: ritroviamo Emma Stone, Willem Dafoe e Margaret Qualley. È presente anche Jesse Plemons, che a Cannes ha ricevuto un meritato premio come miglior attore. Lanthimos torna a immergersi nel surrealismo e nell’esplorazione degli aspetti meno appetibili dell’umanità, quelli più bestiali e meschini, con un distacco da osservatore scientifico privo di qualunque giudizio morale. Questa volta lo fa in maniera particolarmente autoreferenziale, puntando su simbologie che i fan più longevi riconosceranno facilmente.

Le avventure di R.M.F.

Ciascun segmento ha un titolo contenente le iniziali di questo personaggio, R.M.F., fatto che non commenteremo qui per evitare spoiler. Nel primo racconto Robert (Jesse Plemons) è un uomo d’affari che intrattiene una relazione particolare con il proprio superiore (Willem Defoe): questi controlla ogni aspetto della sua vita tramite istruzioni quotidiane estremamente dettagliate e invasive. Quando Robert si rifiuta di eseguire uno dei compiti, l’altro lo accusa di aver smesso di amarlo e tronca improvvisamente la relazione. Robert si trova disorientato, non è in grado di immaginare la propria vita in maniera autonoma, tanto da sforzarsi di riprodurre da solo gli episodi della sua vita che erano stati orchestrati per lui nella sorta di Truman Show in cui viveva. Si lancia poi in una serie di tentativi disperati di riguadagnare l’approvazione dell’uomo, come fosse un bambino che è stato sgridato dal padre, per evitare di venire sostituito con un’amante più obbediente.

Nella seconda parte il protagonista è un poliziotto di nome Daniel, la cui moglie è dispersa in mare. Quando questa fa ritorno a casa, Daniel nota piccole differenze con quella che ricordava essere sua moglie e si convince di star vivendo con una sostituta. Questo capitolo è il più inquietante dei tre, e, a parere di chi scrive, anche il più riuscito. Un elemento che contribuisce a trasmettere l’atmosfera è la dissonanza che si crea quando vengono inseriti elementi splatter senza che i personaggi diano segno di esserne disturbati. Inoltre in questa storia vengono messe in scena la paranoia e il problema dell’identità – altro tema ricorrente nel cinema di Lanthimos – senza che sia possibile allo spettatore capire quale dei personaggi sia “sano”, e quale versione dei fatti sia quella deformata. Ogni scena è perfettamente credibile, come se fossero tutte vere contemporaneamente. La suspense sostenuta in questo modo bilancia il ritmo lento della pellicola.

La terza parte inizia con un tentativo esplicito di avere il controllo sulla natura umana: Emily (Emma Stone) fa parte di una setta, i cui membri sono alla ricerca di una persona che si narra sia in grado di resuscitare i morti. Esclusa poi dal gruppo per essersi contaminata, ovvero aver avuto rapporti sessuali con una persona esterna, fa di tutto per trovare il loro obiettivo e portargliela, come fosse una preda, sperando di meritare così il perdono. Attraverso la vita di questa comunità, i loro gesti e le regole che seguono, Lanthimos mette in scena un vero e proprio branco di animali, più che una società umana.

Cani

La pellicola è infatti una collezione di tutti i modi in cui l’essere umano è portato alla vita del branco, poiché ha bisogno di riconoscersi e riconoscere i propri simili dentro a dinamiche di potere ben definite, scambi di favori, contatto fisico. Il controllo dei corpi è uno dei mezzi principali attraverso cui si realizzano tutti i tentativi di sopravvivenza dei personaggi, mentre i dialoghi sono relegati alla funzione di semplici scambi di informazioni, le emozioni espresse sono sempre basilari: rabbia, paura, bisogni. Kinds of kindness, tipi di gentilezza sono tutte le deformazioni istintive dell’amore che ci rendono simili a bestie più di quanto ci piace immaginarci. Le inquadrature fisse dentro le quali i personaggi si muovono come girando in tondo in una gabbia aumentano il senso di disumanizzazione.

Purtroppo come anticipato l’esecuzione è ai limiti del didascalico, Lanthimos si autocita una volta di troppo e neanche l’uso dei colori e del suono colpiscono particolarmente. D’altra parte la qualità delle interpretazioni, le atmosfere surreali e i momenti di sottile dark comedy risollevano notevolmente la pellicola.

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Federica Rossi,
Redattrice.

June 8, 2024
Il giardino delle vergini suicide – L’esordio di Sofia Coppola

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Torna al cinema in questi giorni il film d’esordio di Sofia Coppola: Il giardino delle vergini suicide (The Virgin suicides), uscito per la prima volta nel 1999 negli USA e nel 2000 in Italia. Si tratta di un adattamento dell’omonimo romanzo di Jeffrey Eugenides (1993).

Ci troviamo in Michigan, nella prima metà degli anni Settanta. Le sorelle Lisbon, Therese (Leslie Hayman), Bonnie (Chelsea Swain), Lux (Kirsten Dunst) e Cecilia (Hanna R. Hall) hanno una vita apparentemente perfetta e due genitori estremamente severi. Cecilia muore al secondo tentativo di suicidio, ma i genitori fanno in modo che il fatto venga trattato come un incidente. Quattro ragazzi del quartiere, nonché compagni di scuola delle sorelle, da quel giorno si rendono conto della vita isolata che conducono e diventano ossessionati dall’idea di indagare: prima passando più tempo con loro e poi, quando la madre le chiuderà in casa, cercando di comunicare attraverso la posta e i segnali dalla casa di fronte. Tutta la storia è raccontata in forma di flashback da uno di loro.

L’ennui

Il film è pervaso in maniera sottile da un’atmosfera malinconica, ma comunque abbastanza percepibile soprattutto nelle scene girate all’esterno, dove è più evidente un uso strumentale della fotografia. L’estetica che negli anni ha reso la cifra stilistica di Sofia Coppola qualcosa di riconosciuto e riconoscibile, tanto che lei stessa l’ha definita il suo personale female gaze, è già presente in questa pellicola. Dai colori opachi alla perfezione di acconciature e vestiti, questi ultimi marcatamente femminili e troppo infantili per l’età delle protagoniste, ogni immagine stride con la gravità dei fatti e le allusioni alla tragedia in corso. Le sorelle Lisbon rimangono composte e impassibili quasi in ogni momento, al punto che nemmeno il giorno in cui tornano a scuola dopo la morte di Cecilia appare diverso dagli altri. Il difetto che si può trovare a quest’opera prima è forse proprio uno sbilanciamento verso la rappresentazione di questa dissonanza, con una grande attenzione anche ai dettagli scenografici a scapito dei dialoghi, che non permette alla drammaticità dei fatti di emergere completamente. Le immagini, tra cui alcune sequenze che ricordano volutamente un videoclip musicale, sono accompagnate da una colonna sonora altrettanto sommessa e distaccata, quasi interamente costituita da un sottofondo ambient. L’album in questione era stato composto appositamente dal duo francese AIR, che la regista aveva contattato di persona, e venne poi pubblicato nel 2000 con l’etichetta discografica Source di Virgin Records.

Dietro l’immagine

Negli unici momenti in cui le sorelle vengono lasciate a loro stesse la patina eterea del racconto svanisce, in particolare dentro la casa o durante il ballo: scene nelle quali si comportano come adolescenti normali al pari delle loro controparti maschili. La parte più interessante di Virgin Suicides non è quindi la vicenda in sé quanto il fatto che le protagoniste non siano mai libere di raccontarla in prima persona. Così come a raccontarle come bambine che hanno bisogno di stretta sorveglianza sono i genitori, in particolare la madre, a renderle speciali agli occhi dei vicini e dei ragazzi è l’idolatria con la quale le osservano questi ultimi, idolatria che li tiene necessariamente a distanza. L’impossibilità di conoscerle aumenta a sua volta a dismisura il senso di mistero, ingigantendo ogni dettaglio che si riesce a racimolare fino a creare di fatto degli esseri mitologici.

Il tentativo dei ragazzi di decifrare i loro segnali è fallimentare perché si ostina a partire dal presupposto di dover capire qualcosa di alieno. Alla fine non ignorano quello che è accaduto, al contrario della comunità intorno a loro, ma rimangono comunque spettatori esterni.

La vera tragedia, in questo coming of age troncato a metà nel quale le storie d’amore restano a malapena abbozzate e metà dei personaggi scompare nel nulla, è il fatto che le protagoniste non siano protagoniste. Le sorelle Lisbon sono vittime delle narrazioni altrui, cercano nei loro coetanei una via di fuga e non la trovano, nonostante la grande attenzione riservatagli dagli stessi, poiché questi sono accecati da un fascinazione che non permette di ascoltare realmente.

“Obviously, Doctor, you’ve never been a 13-year-old girl.” -Cecilia.

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Federica Rossi,
Redattrice.

May 8, 2024
Recensione Ghostbusters Minaccia Glaciale – La maledizione dei sequel

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Ghostbusters – Minaccia Glaciale (Frozen Empire nel titolo originale) è il quarto capitolo del celebre franchise (il reboot diretto da Paul Feig nel 2016 non si considera parte del canone) nonché il sequel diretto di Legacy (Afterlife), uscito nel 2021.

Diretto questa volta da Gil Kenan, il nuovo film riporta lo spettatore dove tutto era iniziato: nella vecchia caserma dei vigili del fuoco di Manhattan, dove ora si è stabilita Callie (Carrie Coon) insieme a Gary (Paul Rudd) e i figli, interpretati da McKenna Grace e Fin Wolfhard. La famiglia porta avanti l’attività degli acchiappafantasmi, minacciata dallo storico rivale Walter Peck, che nel frattempo è diventato sindaco della città e ha quindi l’autorità per far sequestrare la caserma. Ray (Dan Aykroyd) intanto, aiutato dal giovane Podcast, colleziona manufatti posseduti. Entra così in possesso di una misteriosa sfera di ottone: dato che potrebbe trattarsi di una trappola apotropaica, Winston (Ernie Hudson) in seguito la porta nel suo laboratorio. Qui una squadra di ricercatori sta lavorando a un macchinario sperimentale in grado di separare gli spiriti da oggetti e corpi umani. Ci troviamo a seguire due indagini parallele, una dentro il laboratorio e una fuori, quest’ultima portata avanti da Phoebe, Ray e Podcast. Ritroviamo tutte le icone dei primi film, dalla Ecto-1 a Slimer fino alla colonna sonora, insieme a dinamiche nuove come quella dello scontro tra Phoebe ormai adolescente e la sua famiglia, o quelle tra gli acchiappafantasmi “nuovi” e i “vecchi”.

Inserire personaggi nuovi, in aggiunta a quelli già apparsi in Legacy, ciascuno con il proprio background, è un’arma a doppio taglio. Da una parte poteva servire a sostenere gli sviluppi nella narrazione e ad arricchirla, come nel caso di Nadeem (Kumail Nandjani): grazie al maestro del fuoco si esplora una versione più mitologica e ancestrale del paranormale, il personaggio inoltre funziona abbastanza bene nella dinamica generale. L’antagonista introdotto attraverso questa linea del racconto, il dio-fantasma Garraka, costituisce una delle parti più interessanti della storia. Dall’altra parte l’espansione di un universo andrebbe pianificata nei dettagli per evitare l’effetto di affollamento e confusione, che qui purtroppo si avverte fin dalle prime scene.

La pellicola punta sulla quantità di personaggi e sottotrame, e ancora di più sull’evidente operazione nostalgia che ha guidato sia la scelta delle musiche che l’introduzione ed alcune battute estremamente autoreferenziali. Si tratta di strategie che funzionano in quanto abbellimenti, ma che non possono sostituire una sceneggiatura solida. Questo è il primo problema che si nota: una sceneggiatura banale, che lascia la sensazione di essere stata preparata in fretta.

Tuttavia il problema che a nostro avviso pesa di più sulla mancata riuscita dell’operazione non è tanto la prevedibilità della trama, che si potrebbe tranquillamente accettare, trattandosi di un film pensato per essere puro svago; quanto la scarsità proprio di elementi di intrattenimento. Gran parte della pellicola è dedicata a dialoghi tra i protagonisti o a racconti che si protraggono più del necessario, appesantendo il ritmo e finendo per diluire anche l’effetto dei momenti comici, questi ultimi mai particolarmente incisivi. L’azione si concentra quasi del tutto nei minuti iniziali e poi nell’ultima mezz’ora, anche questa inframezzata da siparietti che, anziché stemperare l’adrenalina del momento, la affossano completamente.

Si cerca di ampliare, e quindi prolungare nel tempo, un franchise che partiva da presupposti relativamente semplici, e che avrebbe quindi bisogno di più elaborazione per giustificare l’avere più di un sequel. Minaccia Glaciale può meritare una visione da parte dei fan più affezionati, ma non è all’altezza dell’esperienza che ha cercato di riprodurre. Al momento circolano speculazioni su un quinto capitolo ma la notizia non è confermata.

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Federica Rossi,
Redattrice.

April 18, 2024
Recensione I misteri del Bar Ètoile – Un giallo e tanto altro

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Il duo belga formato da Dominique Abel e Fiona Gordon torna sul grande schermo con L’ Ètolie Filante, in Italia I Misteri del Bar Ètoile, del quale sono registi, sceneggiatori e attori principali. Presentato al festival del cinema di Locarno del 2023, si tratta di una commedia malinconica nella quale la componente di giallo è in realtà solo un pretesto per raccontare tutt’altro.

L’Ètoile Filante è un locale buio e alquanto desolato di un quartiere qualunque di Bruxelles. Qui lavora Boris (Dominque Abel), un ex attivista militante che in passato ha compiuto un grave attentato, insieme alla compagna Kyoko (Kaori Ito). In una scena iniziale che strizza l’occhio alla fotografia di Wes Anderson, Boris viene raggiunto al bar da un misterioso personaggio che sostiene di conoscerlo. Si rende conto di essere in pericolo e che se dovesse restare nel locale sarebbe costretto a fare i conti con il suo passato, perciò insieme a Kyoko decide di organizzare la propria fuga con l’aiuto di un amico, Tim (Philippe Martz). Questi trova un sosia di Boris, un uomo solitario e disoccupato di nome Dom (sempre interpretato da Abel), lo porta al bar con l’inganno e lo convince a prendere il posto di Boris e a diventare il nuovo barista. Quello che Tim non sa è che Dom pur vivendo da solo non era completamente isolato, come aveva dato l’impressione di essere: ha una ex moglie, la detective Fiona (Fiona Gordon) che non trovandolo più in casa si mette sulle sue tracce. Da questo momento in poi la trama non presenta particolari sviluppi ma è costituita da un susseguirsi di singoli episodi, per la maggior parte di equivoci, provocati dallo scambio di persona e dai due inseguimenti in atto.

Commedia e clownerie

La maggior parte dell’espressività e delle caratteristiche dei personaggi passano attraverso la gestualità molto più che i dialoghi, che sono spesso scambi brevi, anch’essi comici o ai limiti dell’assurdo. La modalità in cui i personaggi sono rappresentati è prevalentemente cartoonesca: l’uomo che dà la caccia a Boris non riesce mai a ucciderlo perché il braccio meccanico con il quale sta cercando di usare la pistola non funziona, Kyoko si comporta in maniera caotica e incoerente, Fiona è un perfetto detective strampalato con macchina da scrivere e impermeabile beige. La dinamica dei fatti è poi quella propria dei clown: hanno incidenti ridicoli e ripetitivi, vivono nelle proprie vite il ruolo che è toccato loro senza particolare introspezione e senza prendersi troppo sul serio. Sono persone che non riescono a omologarsi e che probabilmente non sentono il bisogno di farlo, sono più interessati a fuggire o a cercare, a risolvere i propri “misteri”. Non si tratta della comicità spensierata da commedia (che pure emerge in alcuni momenti): durante l’intera pellicola si percepisce una costante malinconia di fondo, ben sostenuta dai colori bui e dal minimalismo della cornice. Tuttavia, pur soffrendo la solitudine non mostrano mai tentativi di adeguarsi alla società, di trovare un loro posto, superano ogni incidente con una composta rassegnazione.

Il tentativo di un commento di tipo sociale non si ferma ai protagonisti ma appare anche nella cornice della città, con accenni a istanze politiche che però non vengono realmente analizzate. Questa osservazione ci porta alla nota dolente di questo film, ovvero la sua scarsa coesione, risultato di una quantità di spunti e citazioni diverse che si accumulano fino alla fine, senza mai trovare lo spazio adeguato per essere sviluppati e quindi integrati nell’insieme. Alcuni momenti, come il delirio notturno di Dom/Boris durante un temporale, avrebbero potenzialmente aperto a ulteriori livelli di lettura rispetto a quelli citati sopra, ma trasmettono un’atmosfera molto più drammatica che viene poi completamente abbandonata al cambio scena. Di conseguenza, la suspense iniziale che si era creata con la comparsa graduale dei singoli personaggi, quando il contesto non era ancora del tutto esplicito, svanisce completamente dopo la prima mezz’ora. Il centro del film è la sequenza di gag che culminano con la fine dell’inseguimento, le quali, per quanto siano ben eseguite, tendono a diventare ripetitive e a peggiorare il senso di frammentazione, trasformando gli spunti disseminati lungo il percorso in distrazioni che confondono lo spettatore.

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Federica Rossi,
Redattrice.

April 14, 2024
Recensione Ancora un’estate – La natura di un desiderio

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Catherine Breillat torna al cinema con un dramma romantico e tormentato, ambientato durante una luminosissima estate nella campagna francese. Ancora un’estate (L’Été dernier) è stato presentato in concorso al 76esimo Festival di Cannes ed è attualmente candidato in quattro categorie ai Lumière del 2024: miglior film, miglior regia, miglior attrice a Léa Drucker e miglior promessa maschile a Samuel Kircher.

Il soggetto non è originale, si tratta infatti di un remake della pellicola danese Dronningen (2019). Anne (Léa Drucker) è un’avvocata di successo che fin dalla prima scena viene presentata come una donna razionale e determinata, tanto sul lavoro quanto nella vita domestica. Vive in una villa di campagna con il marito Pierre (Olivier Rabourdin) e le due bambine che la coppia ha adottato. All’inizio dell’estate Pierre chiede di poter accogliere in casa Théo, suo figlio adolescente avuto da un precedente matrimonio. Il ragazzo ha avuto grossi problemi di condotta a scuola e Pierre, mosso dai sensi di colpa, spera di poterlo aiutare ricucendo il loro rapporto.

In verità i suoi tentativi di essere più presente si rivelano ancora deboli, è spesso assorbito dal lavoro e così Theo trascorre le giornate con Anne e le sue nuove sorelline. Il rapporto con Anne prende una piega singolare ma lo fa poco per volta: inizialmente la complicità tra i due è quella di un’adulta che cerca di stabilire un legame con il figlio adolescente per il bene della famiglia, finché i momenti di condivisione non diventano sempre di più un’amicizia tra pari e lei smette del tutto di comportarsi come una figura genitoriale, salvo poi tornare ad essere fredda e severa quando si tratterà di salvare le apparenze. Da questo punto di vista è notevole l’ironia del lavoro di Anne, che si occupa proprio di protezione legale dei minori, si comporta in maniera impeccabile verso i suoi giovani clienti, ma non riesce ad avere lo stesso riguardo per l’età del suo figliastro.

Breillat esplora dilemmi etici complessi quali il consenso in caso di disparità, sia anagrafica che di ruoli, tra due amanti, i rapporti familiari, la necessità o meno che ci sia un legame di sangue a legittimare l’esistenza della dinamica genitore – figlio adottivo.

L’altro grande tema del film è la profonda ambivalenza che può attraversare la psiche umana. Ci troviamo davanti un personaggio che appare in grado di manipolare chiunque, senza dare segni di rimorso: questo è evidente sia nella dinamica tra lei e il marito, sia nei cambi repentini di atteggiamento verso Théo. Allo stesso tempo però perde il controllo delle proprie azioni quando si trova sola con lui: in più di un’occasione sembra che sia il ragazzo ad aver sedotto lei, che appare quasi indifesa, come se lui fosse l’unica persona nella sua vita che non solo non si lascia controllare, ma riesce addirittura ad imporsi, nonostante l’età. La sessualità in tutto il film è uno strumento e un gioco di potere, durante il quale Anne rivela tutta l’ambiguità della sua posizione, l’egoismo di cui diventa capace una persona quando ha dei bisogni da soddisfare. L’interpretazione di Léa Drucker è notevole nel trasmettere la freddezza di fondo che caratterizza quasi ogni espressione della protagonista.

Si potrebbe dire che questa relazione segreta, così estremamente in contraddizione con il ruolo di Anne nella società, costituisca un’ombra sulla vita agiata e apparentemente perfetta della famiglia. L’azione di Théo nella storia è in realtà l’esatto opposto: insiste nel voler illuminare i fatti, portare alla luce del sole la natura di Anne, dalle scene in cui gioca a intervistare i membri della famiglia con un registratore fino a quando farà di tutto per spingerla a confessare al marito. Lei dal canto suo difende l’ombra in cui vive, non è disposta a uscire allo scoperto perché significherebbe perdere tutto quello che ha, e preferisce vendicarsi di Théo per essere un elemento di disturbo nella vita che si era costruita con tanta cura. I ruoli di vittima e carnefice non sono ben definiti, Anne e Théo sembrano scambiarsi di posto continuamente, lasciando lo spettatore con più domande che risposte sulla responsabilità e la colpa di ciascuno dei personaggi

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Federica Rossi,
Redattrice.

March 12, 2024
Recensione Green border – Un messaggio per l’Europa

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Green border (Zielona granica), l’ultimo film della regista polacca Agnieszka Holland, è il vincitore del Premio speciale della giuria all’80 esima Mostra del Cinema di Venezia.

Il “confine verde” a cui si riferisce il titolo è la foresta di Białowieża o Belavežskaja, una riserva naturale quasi del tutto incontaminata che oggi è divisa tra la Polonia e la Bielorussia. Dal 2021 in poi convergono su questo confine i flussi migratori in arrivo da diverse parti del mondo: dal Medio Oriente, in particolare Siria e Afghanistan, dall’Africa e dalla stessa Bielorussia. Il film inizia proprio dall’autunno del 2021, mostrando una famiglia siriana e un’insegnante afghana che atterrano all’aeroporto di Minsk per poi dirigersi verso l’Europa. Inizia una vera e propria odissea, durante la quale verranno più volte catturati dalle guardie di confine dei due stati, trascinati di qua e di là dal filo spinato, senza spiegazione e anzi spesso trattati con violenza. La pellicola è divisa in quattro capitoli: al punto di vista dei migranti presentati nel primo si uniranno poi quello di una giovane guardia di frontiera e quello di un gruppo di attivisti che cerca di portare cibo e cure mediche ai rifugiati, agendo anche da mediatori con l’autorità locale.

Europa, Polonia, 2021

Green border non è un documentario ma ne assume alcune caratteristiche, sia stilistiche che di contenuto: non ha altro scopo se non descrivere la crisi umanitaria e la violenza che realmente ha avuto luogo e probabilmente ha ancora luogo oggi, in quella parte di Europa. La narrazione segue i tentativi dei rifugiati di ottenere asilo in Polonia con il sostegno degli attivisti, ma aggiunge alla storia della famiglia protagonista numerosi altri episodi, diventando di fatto una raccolta di tutte le storie possibili. La stessa Holland ha dichiarato, durante le numerose interviste a riguardo, che pur mostrando personaggi inventati il film è interamente basato su testimonianze reali.

Inoltre Maja Ostaszewska, che interpreta l’attivista Julia, non è solo un’attrice di professione ma è realmente membro del movimento umanitario Grupa granica che vediamo all’opera nel film. Un ulteriore punto di forza è sicuramente la scelta di non concentrarsi esclusivamente sui migranti ma mostrare il contesto dentro cui si svolgono i fatti a trecentosessanta gradi, attraverso le vite del soldato e di Julia. Vediamo come le guardie vengono istruite dai loro superiori e vivono la tragedia in atto come una semplice seccatura capitata sul lavoro, assistiamo alle conversazioni dei cittadini che abitano nei paesi limitrofi e a diversi momenti della vita quotidiana intorno alla frontiera. Il bianco e nero cupo della fotografia da una parte dà un’eleganza che si discosta dallo stile e dal tema, dall’altra però contribuisce alla drammatizzazione del racconto.

Non un bel film ma un film necessario

Purtroppo mantenere l’equilibrio tra il dramma e la denuncia sociale non era semplice; e la pellicola ha il difetto di cercare l’impatto emotivo a tutti i costi. Le scene di brutalità estrema vengono riproposte molto più di quel che sarebbe stato necessario, soprattutto considerando che una regia capace come quella della Holland non fatica a trasmettere un messaggio fin dalle prime inquadrature. Questa ripetitività fa sì che il pathos, che all’inizio non manca, si esaurisca presto, lasciando il posto all’attesa di scoprire un “dunque”, una chiave di lettura o anche solo uno sviluppo di trama che però non arriva mai all’altezza delle premesse. I personaggi non trovano spazio per un approfondimento che vada al di là dei semplici fatti, di cui sono sempre e solo vittime impotenti, e rimangono quindi appiattiti. Sembrano rappresentare più un ruolo generalizzato -migrante afghano, migrante africano, attivista eccetera- che singole persone. La visione d’insieme risulta priva di sfumature e divisa nettamente tra i buoni e i cattivi, e anche alcuni dialoghi sono didascalici in questa direzione.

È evidente che l’intenzione principale nel girare questo film-documentario fosse denunciare le violazioni dei diritti umani commesse dai governi coinvolti e portarle sotto gli occhi di tutti; e che questo possa aver fatto passare in secondo piano la sceneggiatura. Green Border è di fatto un’opera dimenticabile dal punto di vista artistico, ma che è stata ed è rilevante soprattutto in patria per ben altre ragioni. Agnieszka Holland è stata accusata di tradimento e propaganda. In Polonia al momento è vietato proiettare Green Border senza un video messaggio iniziale con il quale il governo polacco presenta la propria versione dei fatti.

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Federica Rossi,
Redattrice.

February 13, 2024
Recensione Smoke Sauna – Molto più di un documentario

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Il primo lungometraggio di Anna Hints, regista e musicista folk estone, è un documentario estremamente intimo incentrato sulla tradizione della sauna a fumo, a cui lei stessa ha partecipato insieme alle donne della sua famiglia. Hints appartiene alla comunità Võro del sud dell’Estonia, che oggi conta meno di centomila persone e parla una lingua finnica, il Võro per l’appunto, in via di estinzione. Le saune costruite secondo l’abitudine di questo popolo sono senza camino per fare in modo che il fumo prodotto dalla stufa a legna rimanga intrappolato nella stanza, e hanno sia scopi pratici (nello stesso ambiente si possono trovare le vasche per lavarsi e la carne appesa ad affumicare) che spirituali.

Assistiamo infatti allo svolgersi di un rito di purificazione, i cui passaggi sono scanditi dalle storie che le protagoniste -di cui non vengono mai pronunciati i nomi- si raccontano l’una con l’altra: ad ogni aneddoto corrisponde una fase della sauna. Si tratta di semplici confidenze, episodi della loro vita quotidiana, senza che da queste scaturiscano dialoghi lunghi né sviluppi di trama: l’intero documentario è composto solo da questa serie di racconti. Lo spettatore è invitato ad ascoltare in silenzio, senza poter dare interpretazioni, imitando l’atteggiamento delle donne che sta osservando. Questo effetto è sostenuto, dal punto di vista visivo, anche dall’uso frequente della camera a mano e dalla totale assenza di inquadrature larghe: si può vedere solo ciò che sarebbe effettivamente visibile stando seduti dentro la sauna.

I momenti più intensi sono inframezzati da alcune scene girate all’aperto: nel bosco intorno alla casa si canta, si ballano le danze tradizionali, si nuota nel fiume. La leggerezza di queste parti contrasta sempre di più con l’interno buio, man mano che il rituale prosegue e anche i racconti si fanno più dolorosi, ma senza mai risultare fuori luogo. Hints mantiene fino alla fine un delicato equilibrio tra la fatica e la vivacità delle donne, che spesso ridono di sé stesse mentre parlano del loro passato al buio, per poi paradossalmente apparire più serie fuori. Anche in questo caso le immagini accompagnano perfettamente le sensazioni, con i colori caldi e luminosi del mondo “fuori” che si possono ritrovare, una volta rientrati, nei momenti in cui la luce riesce a entrare dall’unica finestra.

Una storia di corpi

I corpi delle protagoniste sono quasi sempre in primo piano, spesso evidenziati in controluce, e mai ripresi a figura intera. A volte non si vede nemmeno il volto intero di chi sta parlando, ma si osservano dettagli come le mani o i muscoli in movimento. Ciascuna testimonianza, sia che si tratti dei commenti frivoli sulla bellezza ascoltati da bambine, di malattie o di violenza estrema, è raccontata attraverso quello che succede al corpo, con descrizioni oneste e in alcuni casi esplicite. Da ciascuna, inoltre, emerge il fatto che il corpo -in modo particolare quello femminile– nella vita di tutti i giorni possa essere costantemente osservato, giudicato, oppure diventare motivo di contesa: in ogni racconto esso sembra non essere appartenuto solo alla persona che lo abita ma un po’ anche alle loro madri, le nonne, i fidanzati e persino gli sconosciuti. Lo spazio della sauna, al riparo dal resto della società, permette una condivisione totale del proprio vissuto senza che questo esponga al pericolo di dover rinunciare a sé per far posto all’opinione di altri. Al contrario, qui attraverso l’uso del corpo ciascuna si prende cura di quelli delle altre e la sporcizia -fisica o metaforica- viene allontanata.

Colpisce la capacità di Anna Hints di non banalizzare dei contenuti di fatto semplici, e anzi di valorizzarli con una tale poeticità, soprattutto considerando che si tratta di un’opera prima per quanto riguarda i lungometraggi. Smoke Sauna Sisterhood non è solo la documentazione storica di una comunità e delle sue tradizioni, ma anche un’importante rappresentazione dell’esistenza materiale, che non contraddice quella spirituale ma ne è parte integrante.

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Federica Rossi,
Redattrice.

February 8, 2024
Florence Pugh – Un volto promettente

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“I like finding the ugliness in humans. I love being raw. I love being given a script where it challenges myself and I have never picked a role unless I’ve been scared of it.”

Florence Pugh compie ventotto anni e in un solo decennio di carriera è già diventata un volto noto, nonché spesso apprezzato, del panorama cinematografico internazionale.

Nata a Oxford nel 1996, ha debuttato sul grande schermo con il thriller The Falling (2014), ambientato negli anni Sessanta in una scuola femminile inglese, dove interpreta una delle protagoniste accanto a Maisie Williams. Nel 2016 ottiene il primo ruolo da protagonista: Catherine in Lady Macbeth, dramma storico di William Oldroyd prodotto dalla BBC Films. Nonostante questo film abbia avuto scarso successo al botteghino, il talento dell’attrice non è passato inosservato: solo due anni dopo, nel 2018, interpreta Cornelia nel Re Lear di Richard Eyre, lavorando insieme a figure del calibro di Anthony Hopkins ed Emma Thompson.

Il 2019 è l’anno di Fighting with my family (Stephen Merchant) nel ruolo della giovane wrestler Paige, ma è anche e soprattutto l’anno di Piccole donne e Midsommar che, insieme a Oppenheimer, sono sia i titoli più importanti della sua carriera dal punto di vista professionale sia i più commentati anche dal grande pubblico. L’attrice ha parlato apertamente della sua preferenza per i ruoli “difficili”, i personaggi tormentati che le permettono di portare sulla scena emozioni complesse e di forte intensità. Come vedremo di seguito questa predilezione ha dato ottimi frutti, soprattutto nei lavori più recenti.

Tra i rari casi in cui la si può trovare in contesti più vicini alla commedia finora ci sono i doppiaggi: nel 2022 ha prestato la voce ai personaggi di Sarah in Human Resources, spin-off della serie animata di Netflix Big Mouth, e Goldilocks ne Il gatto con gli stivali 2.

Nel frattempo è entrata a far parte anche del Marvel Cinematic Universe, dove interpreta Yelena Belova in La vedova nera (Cate Shortland, 2021) e nella miniserie Hawkeye. È già stata confermata la sua partecipazione a Thunderbolts in uscita nel 2025.

Inoltre, nel 2024 la vedremo in Dune 2 nei panni della principessa Irulan.

Piccole Donne (Greta Gerwig, 2019)

Nell’adattamento dell’omonimo romanzo di Louisa May Alcott, diretto da Greta Gerwig, Pugh interpreta Amy, la più giovane delle sorelle March. Trattandosi del personaggio che evolve in maniera più evidente durante il racconto, passando dalla preadolescenza all’età adulta, in molte versioni di Piccole donne Amy è interpretata da due attrici diverse. Pugh riesce da sola ad essere sufficientemente credibile in tutte le fasi di questi cambiamenti, incarnando i tratti della Amy più infantile senza per questo ridurla a uno stereotipo di sorellina capricciosa: le ha dato lo spessore che serviva da fondamenta per poi “costruirci sopra” la Amy adulta. Questa performance le è valsa la candidatura come miglior attrice non protagonista sia ai BAFTA che agli Academy Awards del 2020. Qui trovate un articolo dedicato al film di Gerwig.

Midsommar (Ari Aster, 2019)

Nell’horror di Ari Aster Pugh interpreta Dani, una ragazza americana che, in seguito a una tragedia familiare, decide partire con il fidanzato Christian (Jack Reynor) e i loro amici per un remoto villaggio svedese, dove assisteranno ai festeggiamenti per il solstizio d’estate, “midsommar” appunto. Dani è un personaggio profondamente infelice, non solo a causa della perdita che ha appena subito ma anche per la solitudine in cui vive: il suo dolore non raggiunge mai Christian, con il quale è in crisi, né altri personaggi, e tutto lo svolgersi della trama trasmette un senso di freddezza e incomunicabilità. Questo fino a che Dani non troverà un posto che sembra preparato apposta per lei, all’interno del luogo surreale di cui lei e i suoi amici sono caduti prigionieri, attraverso una serie di eventi catartici in grado di offrirle lo spazio che non riusciva a prendersi nella sua vita di prima.

Oppenheimer (Christopher Nolan, 2023)

A proposito di spazi e di capacità espressiva, il ruolo di Jean Tatlock nell’ultimo capolavoro di Nolan non è sicuramente in primo piano né per minutaggio né per approfondimento delle dinamiche tra lei e il protagonista, poiché la pellicola si concentra di più sul ruolo che il fisico ha avuto nella storia americana che sulla sua vita privata. Merita tuttavia di essere ricordato perché è anche questo un ottimo esempio della capacità di Florence Pugh di trasmettere storie tormentate, tragiche come in questo caso, caratterizzando con realismo ciascuna delle donne che interpreta.

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Federica Rossi,
Redattrice.

January 3, 2024
Recensione Coup de chance – Il cinquantunesimo film di Woody Allen

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Il cinquantesimo film di Woody Allen, presentato fuori concorso alla 80esima Mostra del Cinema di Venezia, raccoglie in sé tutte le tematiche e i canoni estetici che hanno caratterizzato la carriera del regista, a partire dal titolo: Coup de Chance (Un colpo di fortuna). È ambientato a Parigi, dove la protagonista, Fanny (Lou de Laâge) vive una vita tranquilla e molto agiata con Jean (Melvil Poupaud), il suo secondo marito. L’incontro casuale con un vecchio compagno di liceo, Alain (Niels Schneider), la spinge improvvisamente a rimettere tutto in discussione: lui coglie l’occasione per confessare di essere sempre stato innamorato di Fanny, e lei si rende conto, suo malgrado, di ricambiare con molta più passione di quella che prova per il marito.

I due iniziano una relazione clandestina, ignari del fatto che Jean, uomo possessivo ed estremamente influente in città, li abbia scoperti. Questo personaggio incarna l’antitesi della filosofia di Woody Allen, è abituato a manipolare la realtà a suo piacimento e non crede che la fortuna sia una forza ingovernabile. È attraverso di lui, inoltre, che si inserisce un elemento di inquietudine in quella che altrimenti avrebbe tutte le premesse e lo sviluppo di una commedia leggera. L’unica a sospettare qualcosa è Camille, la madre di Fanny in visita da New York, a cui la figlia non vuole dare ascolto. La metropoli americana non poteva mancare in questo compendio del cinema di Allen: il liceo dove Fanny ha conosciuto Alain era lì, e da lì proviene quindi la vita entusiasmante del passato che irrompe nella mondanità della borghesia parigina. La città viene citata esplicitamente poche volte da Fanny ma il contrasto netto tra le due versioni della sua vita, insieme ai ruoli di Alain e Camille che si contrappongono a Jean, rendono New York presente anche a Parigi, come se non solo i personaggi e le idee ma anche lo scenario avesse bisogno della sua antitesi concreta.

Il film mantiene un delicato equilibrio tra dramma e commedia, soprattutto nella prima parte, ma senza mai allontanarsi troppo dalla seconda: nonostante fosse stato annunciato come un thriller, di questo genere si colgono solamente degli indizi abbozzati. Inoltre, la fotografia di Storaro con i colori iper saturati e la colonna sonora prevalentemente jazz contribuiscono all’atmosfera romantica e mai troppo cupa.

Da una parte si tratta quindi di una pellicola piacevole e nella quale la cifra stilistica di Woody Allen è riconoscibile. Il caso rimane, lungo tutto l’arco narrativo, il vero padrone degli eventi: alcune decisioni dei personaggi ottengono un risultato, alcune cadono nel vuoto, ad altre si somma un elemento esterno a dirottare le conseguenze; mentre Jean si arrabbia e mobilita la sua rete di malavitosi per cercare di aggiustare man mano il corso della storia. Fanny dal canto suo reagisce istintivamente adattandosi ogni volta al contesto in cui si trova, non con indifferenza totale ma in maniera perlomeno docile, atteggiamento reso palese dalle dinamiche che si creano a seconda che si trovi con il marito o con l’amante. Dal punto di vista di questo discorso sull’esistenza o meno della fortuna, le scene finali sono intelligenti e ben orchestrate.

Dall’altra parte purtroppo lo svolgersi del racconto risulta poco coinvolgente a causa di una sceneggiatura rigida e a tratti trascurata, dalla quale la famosa ironia alleniana non riesce ad emergere appieno, e da una esecuzione non particolarmente appassionata. L’impressione che si ha è che il fatto che si tratti del suo primo film girato in francese, anziché in inglese, possa aver penalizzato il lavoro. I dialoghi sono spesso descrittivi ed aggiungono poco a quello che viene già mostrato, che è una serie di eventi semplici messi in moto da premesse abbastanza stereotipate. Al di là dell’ambientazione interamente francese e di alcuni dettagli, come l’uso dei colori, non si tratta sicuramente di un lavoro innovativo rispetto ai precedenti.

Nell’insieme, Coup de chance è una commedia discreta, un esercizio di stile indubbiamente ben confezionato ma povero di sostanza.

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Federica Rossi,
Redattrice.

December 8, 2023