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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.

January 25, 2025
Le nomination agli Oscar 2025

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Dopo alcuni rinvii dovuti agli incendi che hanno devastato Los Angeles, si è finalmente tenuta alle 14.30 italiane (5.30 di mattina a Hollywood) di giovedì 23 gennaio la breve cerimonia di annuncio delle nomination agli Oscar 2025, condotta dagli attori Bowen Yang e Rachel Sennott.

A dominare l’anno per numero di nomination è senza dubbio Emilia Pérez con 13 candidature, seguito da The Brutalist e Wicked con 10 e A Complete Unknown e Conclave con 8. Volendo fare un discorso più produttivo, guida la classifica delle compagnie candidate Netflix con 16 nomination, subito tallonata dalle 14 di A24, che si riconferma una delle più solide realtà degli ultimi anni. Emerge una sostanziale preferenza per i film usciti da Cannes (Emilia Pérez, Anora, The Substance) rispetto a quelli presentati a Venezia: The Brutalist è l’unico candidato, mentre mancano all’appello film come La stanza accanto, Babygirl, Queer e Joker: Folie à Deux, che ha invece sbancato ai Razzie Awards con 7 nomination.

Gli attori nominati lasciano come sempre un po’ di amaro rispetto ai Golden Globe, che risultano di manica più larga con un maggior numero di categorie. Colpisce forse l’assenza di alcuni nomi, come Zendaya per Challengers, Daniel Craig per Queer e Nicole Kidman per Babygirl (Coppa Volpi a Venezia), inducendo Variety a ipotizzare che l’Academy abbia paura del sesso. Sono invece presenti i grandi favoriti, come Demi Moore per The Substance, Zoe Saldana per Emilia Pérez, Kieran Culkin per A Real Pain e Timothée Chalamet per A Complete Unknown. Quest’ultimo, oltre ad essere il più giovane attore candidato due volte all’Oscar dai tempi di James Dean, è anche il nuovo favorito come miglior attore dopo che si è scoperto l’utilizzo dell’AI per migliorare l’accento ungherese di Adrien Brody in The Brutalist (già vincitore al Golden Globe). Se vincesse Chalamet, sarebbe il più giovane mai premiato, battendo per ironia della sorte proprio Brody, che nel 2003 vinse a 29 anni per Il pianista.

Sono sicuramente delle nomination trattenute, che a pochi giorni dall’insediamento del nuovo presidente degli Stati Uniti Donald Trump evitano di buttare benzina sul fuoco con film come Civil War, (ma candidano comunque Sebastian Stan e Jeremy Strong per The Apprentice), ma allo stesso tempo non si fanno problemi a stra-candidare un titolo controverso come Emilia Pérez, già accusato per la rappresentazione stereotipata (pensa un po’) del Messico e delle persone transgender. Al netto di questo limite, il film di Jacques Audiard batte due record, come titolo internazionale più candidato di sempre e con la nomination alla protagonista Karla Sofía Gascón, prima attrice trans candidata nella storia degli Oscar.

Quest’anno più che i candidati sono gli snobbati a stupire: Denzel Washington non ottiene la nomination per Il Gladiatore II, idem Angelina Jolie per Maria, così come tanti altri tra cui Selena Gomez e Margaret Qualley che restano a bocca asciutta nonostante altre nomination ai loro film. L’Academy riconferma poi di snobbare completamente Luca Guadagnino, che quest’anno correva con Challengers e Queer che hanno ottenuto complessivamente 0 nomination (non è stata presa in considerazione nemmeno la colonna sonora del primo, già premiata ai Golden Globe). Nonostante la candidatura a miglior film, Dune – Parte 2 esce azzoppato dalle nomination, portandone a casa solo 5 dopo che il primo capitolo aveva vinto 6 statuette: tra di esse non c’è né la regia di Denis Villeneuve né la colonna sonora originale di Hans Zimmer (che non è stato nominato perché la composizione era molto simile al primo capitolo, ma stranamente tra i candidati compare comunque Wicked che deriva dal musical). Nosferatu manca la nomination al film come aveva previsto qualcuno, ma ottiene comunque 4 candidature tecniche.

L’immancabile commento sull’Italia agli Oscar fa notare l’assenza di Vermiglio di Maura Delpero tra i candidati come miglior film internazionale, categoria in cui la concorrenza è agguerrita con ben due titoli nominati anche come Best Picture: il già citato Emilia Pérez per la Francia e I’m Still Here dal Brasile, che conquista anche la nomination alla miglior attrice a Fernanda Torres. Gioia per Isabella Rossellini, candidata come miglior attrice non protagonista in Conclave, che su Instagram ha voluto ricordare i genitori Roberto Rossellini e Ingrid Bergman e l’amico, ex compagno e mentore David Lynch recentemente scomparso.

La 97esima Notte degli Oscar si terrà domenica 2 marzo 2025 presso la storica location del Dolby Theatre di Los Angeles. A condurre la cerimonia quest’anno sarà per la prima volta il comico e host Conan O’Brien. Il prossimo appuntamento importate dell’Awards Season sono i BAFTA domenica 16 febbraio, oltre ai numerosi premi dei sindacati.

Ecco la lista completa delle Nomination agli Oscar 2025:

MIGLIOR FILM

Anora

The Brutalist

A Complete Unknown

Conclave

Dune – Parte 2

Emilia Pérez

I’m Still Here

Nickel Boys

The Substance

Wicked

MIGLIOR REGIA

Sean Baker, Anora

Brady Corbet, The Brutalist

James Mangold, A Complete Unknown

Jacques Audiard, Emilia Pérez

Coralie Fargeat, The Substance

MIGLIOR ATTRICE PROTAGONISTA

Cynthia Erivo, Wicked

Karla Sofia Gascon, Emilia Pérez

Mikey Madison, Anora

Demi Moore, The Substance

Fernanda Torres, Io sono ancora qui

MIGLIOR ATTORE PROTAGONISTA

Adrien Brody, The Brutalist

Timothée Chalamet, A Complete Unknown

Colman Domingo, Sing Sing

Ralph Fiennes, Conclave

Sebastian Stan, The Apprentice

MIGLIOR FILM INTERNAZIONALE

Io sono ancora qui

The girl with the needle

Emilia Pérez

Il Seme del Fico Sacro

Flow

MIGLIOR ATTRICE NON PROTAGONISTA

Monica Barbaro, A Complete Unknown

Ariana Grande, Wicked

Felicity Jones, The Brutalist

Isabella Rossellini, Conclave

Zoe Saldana, Emilia Pérez

MIGLIOR ATTORE NON PROTAGONISTA

Yura Borisov, Anora

Kieran Culkin, A Real Pain

Edward Norton, A Complete Unknown

Guy Pierce, The Brutalist

Jeremy Strong, The Apprentice

MIGLIOR SCENEGGIATURA ORIGINALE

Anora

The Brutalist

A Real Pain

September 5

The Substance

MIGLIOR SCENEGGIATURA NON ORIGINALE

A Complete Unknown

Conclave

Emilia Pérez

Nickel Boys

Sing Sing

MIGLIOR FOTOGRAFIA

The Brutalist

Dune – Parte 2

Emilia Pérez

Maria

Nosferatu

MIGLIOR MONTAGGIO

Anora

The Brutalist

Conclave

Emilia Pérez

Wicked

MIGLIOR SUONO

A Complete Unknown

Dune – Parte 2

Emilia Pérez

Wicked

Il Robot Selvaggio

MIGLIOR SCENOGRAFIA

The Brutalist

Conclave

Dune – Parte 2

Nosferatu

Wicked

MIGLIORI COSTUMI

A Complete Unknown

Conclave

Il Gladiatore II

Nosferatu

Wicked

MIGLIOR TRUCCO E ACCONCIATURA

A Different Man

Emilia Pérez

Nosferatu

The Substance

Wicked

MIGLIOR CANZONE ORIGINALE

“El Mal”, Emilia Pérez

“The Journey”, The Six Triple Eight

“Like a bird”, Sing Sing

“Mi camino”, Emilia Pérez

“Never Too Late”, Elton John: Never Too Late

MIGLIOR COLONNA SONORA

The Brutalist

Conclave

Emilia Pérez

Wicked

Il Robot Selvaggio

MIGLIORI EFFETTI VISIVI

Alien: Romulus

Better Man

Dune – Parte 2

Il Regno del pianeta delle scimmie

Wicked

MIGLIOR FILM D’ANIMAZIONE

Flow

Inside Out 2

Memoir of a snail

Wallace & Gromit: Le piume della vendetta

Il Robot Selvaggio

MIGLIOR CORTOMETRAGGIO D’ANIMAZIONE

Beautiful men

In the shadows of the cypress

Magic candies

Wander to wonder

Yuck!

MIGLIOR CORTOMETRAGGIO

A lien

Anuja

I’m not a robot

The last ranger

The man who could not remain silent

MIGLIOR DOCUMENTARIO

Black box diaries

No other land

Porcelain war

Soundtrack to a coup d’etat

Sugarcane

MIGLIOR CORTOMETRAGGIO DOCUMENTARIO

Dead by numbers

I am ready, Warden

Incident

Instruments of a beating heart

The Only Girl in The Orchestra

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Enrico Borghesio,
Redattore.

January 24, 2025
Live #46: Indiana Jones e il Quadrante del Destino – Due chiacchere sul film e sulla saga

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Luca Orusa e Mattia Bianconi ci parlano dell’ultima fatica di Indiana Jones e del suo rapporto con l’intera saga lanciata da Spielberg!

Buona visione!

Potete seguirci qui: https://linktr.ee/framescinema

Seguiteci su Youtube e Twitch per non perdervi le prossime Live!

July 4, 2023
Recensione Indiana Jones e il quadrante del destino – All’inseguimento del tempo perduto

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Indiana Jones non è cambiato, il mondo attorno a lui sì. Da questo assunto partiva – ormai quindici anni fa – Indiana Jones e il regno del teschio di cristallo. Nel quarto capitolo della storica saga creata con George Lucas, Steven Spielberg toglieva l’archeologo interpretato da Harrison Ford dalla sua epoca per gettarlo in piena guerra fredda e chiudere, in maniera più o meno definitiva, la storia del professor Henry Jones Jr. Il quale, nonostante le rughe e i capelli bianchi, restava ancora l’eroe immarcescibile e divertito di un tempo.

Certi eroi, però, non sono destinati a restare in pensione troppo a lungo: non in un contesto pop che ha fatto dell’effetto nostalgia e del riciclo di vecchi miti la propria missione. Arriviamo così al canto del cigno definitivo dell’archeologo con Indiana Jones e il quadrante del destino, presentato allo scorso Festival di Cannes, in cui Steven Spielberg lascia il timone della creatura sua e di Lucas in mano a James Mangold, forte del discreto successo riscosso da un’altra conclusione, quella di Logan.

Un’icona pop al tramonto

Troviamo Indiana Jones nel 1969, poche settimane dopo la missione Apollo 11 che ha definitivamente stampato nell’immaginario dell’America un nuovo tipo di eroe e messo quelli vecchi in soffitta. L’ombra dell’avventuriero di un tempo, il professor Jones ha abbandonato il fedora da anni e insegna archeologia a una generazione sempre più svogliata e distratta, fino a quando il richiamo all’avventura non si presenta sotto le sembianze della figlioccia Helena (Phoebe Waller-Bridge).

Indiana Jones non è più quello di un tempo: James Mangold e Harrison Ford non fanno finta che l’eroe con frusta e cappello sia ancora un ragazzo e sottolineano abbondantemente gli acciacchi degli anni e dei chilometri vissuti sulla propria pelle. Indiana Jones è almeno all’inizio in balia degli eventi, un personaggio secondario della sua stessa storia e la parte del leone la fa l’intraprendente e spregiudicata tomb raider Helena, in cerca di antichità per riempire le proprie tasche. È lei che mette in moto gli eventi ed è lei che, all’inizio, il villain Voller (Mads Mikkelsen) insegue, alla ricerca dell’eponimo quadrante del destino, un altro manufatto in grado di conferire poteri straordinari. Questo fino a quando Indy non si confronta con i fantasmi del suo stesso passato e non si decide a riprendere in mano la propria vita.

L’ennesima ultima cavalcata

Non si può dire che James Mangold e il team di sceneggiatori non abbiano fatto i compiti a casa. Mettono in fila le caratteristiche iconiche del personaggio – la paura dei serpenti, gli insetti schifosi, il giovanissimo sidekick abile pilota, la mappa con il percorso tracciato in rosso –, spostano le loro pedine da una location esotica all’altra alla ricerca del macguffin di turno, alternano azione, commedia e nostalgia, citando quanto basta i precedenti film tra dialoghi, inquadrature e prestiti dalle storiche colonne sonore. Mangold e compagni, quindi, riescono a rivestire di commozione l’addio a questo personaggio leggendario, grazie anche a un Harrison Ford appassionato più che mai. L’idea di un eroe al tramonto, in cerca del proprio posto nella Storia è un modo più che legittimo per mettere la parola fine a un’avventura durata quarantadue anni. Non manca neppure un po’ di genuino divertimento. La sequenza iniziale con un giovane Indy – la qualità del ringiovanimento digitale varia da inquadratura a inquadratura – dà una partenza piena di brio a un film altrimenti crepuscolare e qua è là si trovano gli echi delle buone intenzioni che pure puntellano questo lungo epilogo. Purtroppo, tolti questo e la conclusione – squisitamente assurda, farà discutere tanto quanto quella del precedente – resta poco altro degno di nota.

La ruota del destino è l’ennesimo caso di un franchise che, quarant’anni dopo il suo inizio, scambia la devozione per genuina passione e fraintende ciò che rende davvero unico un film come I predatori dell’arca perduta. Replicare gli stilemi e i tic amati dal pubblico non basta, se si trascura l’anima postmoderna di una saga imbevuta fino all’osso di nostalgia cinefila e influenze d’infanzia. Mangold è un intelligente regista, ma privo della sensibilità tutta di Spielberg nei confronti della propria materia narrativa. Non si può attribuire tutta la colpa a lui, quanto a una più generale propensione delle produzioni contemporanee di giocare sul sicuro, di offrire un intrattenimento inoffensivo e per tutti. Il risultato è un epilogo di moderato divertimento ma asettico, che della serie ignora le tendenze all’horror, annacqua la commedia – a cui danno un po’ di vita giusto le interazioni tra Ford e Waller-Bridge – e ammazza la tensione in prolungate sequenze d’inseguimento prive di rischio e di ritmo. In poche parole, di Indiana Jones il quadrante del destino recupera molto della forma e poco della sostanza. Un’ulteriore dimostrazione che certi reperti sono inseparabili dalla loro epoca di provenienza e che sarebbe meglio lasciare al loro posto nella Storia del cinema.

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Valentino Feltrin,
Redattore.

July 1, 2023
Scorsese e Indiana Jones in anteprima a Cannes 2023

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Non è ancora stato annunciato il programma completo del 76° Festival di Cannes, ma è già ufficiale che due tra gli eventi cinematografici più importanti dell’anno vi prenderanno parte: debutteranno sulla Croisette Killers of the Flower Moon di Martin Scorsese e Indiana Jones e il quadrante del destino, diretto da James Mangold. La selezione ufficiale del Festival sarà invece comunicata il 13 aprile.

Killers of the Flower Moon

La prima mondiale del nuovo atteso film del maestro Scorsese avverrà sabato 20 maggio, nel primo weekend dell’edizione 2023, che si svolgerà da martedì 16 a sabato 27 maggio. Il red carpet di Killers of the Flower Moon, coinvolgerà, oltre al regista, anche gli attori Leonardo DiCaprio, Robert De Niro, Jesse Plemons e altri nomi del cast.

Killers of the Flower Moon figurerà nel Concorso principale del festival, la cosiddetta Sélection Officielle, dalla quale un film di Scorsese manca dal lontano 1985 con Fuori orario. Scorsese ricevette la Palma d’oro nel 1976 con Taxi Driver, e il premio come miglior regista per Fuori orario 10 anni dopo. Nel 1998 invece è stato presidente di giuria, incoronando il regista greco Theo Angelopoulos per L’eternità e un giorno.

Targato Apple Studios, Killers of the Flower Moon è stato prodotto insieme a Imperative Entertainment, Sikelia Productions e Appian Way, su script di Martin Scorsese ed Eli Roth e soggetto tratto dall’acclamato bestseller omonimo di David Grann. Ambientato negli anni ’20 in Oklahoma, racconta una serie di omicidi che avvengono nella popolazione di nativi americani nella regione di Osage, molto ricca di giacimenti di petrolio, una sequenza di crimini brutali, nota con il nome di “Regno del terrore”.

Il film original Apple Killers of the Flower Moon uscirà per la prima volta esclusivamente nelle sale negli Stati Uniti, in collaborazione con Paramount Pictures, in edizione limitata venerdì 6 ottobre e in ampia distribuzione da venerdì 20 ottobre. L’uscita in Francia è fissata per il 18 ottobre 2023, mentre quella italiana per il 19 ottobre 2023 per Rai Cinema e Leone Film Group, prima di raggiungere la piattaforma AppleTV+ verosimilmente nel 2024.

Indiana Jones e il quadrante del destino

A 15 anni dalla presentazione a Cannes nel 2008 di Indiana Jones e il regno del teschio di cristallo, diretto da Steven Spielberg, il quanto e ultimo capitolo della saga targata Lucasfilm Indiana Jones e il quadrante del destino sarà presentato in anteprima mondiale sulla Croisette di Cannes giovedì 18 maggio.

Diretto da James Mangold, il film segna il ritorno di Harrison Ford nei panni del leggendario eroe e archeologo, che sarà sul red carpet insieme alle co-star Phoebe Waller-Bridge, Antonio Banderas, John Rhys-Davies, Toby Jones, e Mads Mikkelsen. In questa occasione, il Festival renderà anche un omaggio speciale a Harrison Ford per la sua carriera, costellata di ruoli indimenticabili come Indiana Jones, Han Solo e Rick Deckard.

Il regista James Mangold partecipò a Cannes per la prima volta nel 1995, con il suo primo film Heavy, parte di Director’s Fortnite. Ventotto anni dopo, dopo numerosi successi, ritorna nella Sélection Officielle (ma fuori concorso) con l’attesissimo capitolo finale delle avventure del celebre archeologo. Questa volta Indiana Jones è alle prese di nuovo con i nazisti, che nel 1969 cercano di mettere le mani su un potente dispositivo in grado di cambiare le sorti del mondo.

Indiana Jones e il quadrante del destino, prodotto da The Walt Disney Company e Lucasfilm, coinvolge Kathleen Kennedy, Frank Marshall e Simon Emanuel produttori, e Steven Spielberg e George Lucas come produttori esecutivi. Anche stavolta l’inossidabile John Williams comporrà la colonna sonora del film. Indiana Jones 5 sarà nelle sale statunitensi dal 30 giugno 2023, mentre in quelle italiane (e francesi) già a partire dal 28 giugno 2023.

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transform_hover_element="self" transform_scale_x="1" transform_scale_y="1" transform_translate_x="0" transform_translate_y="0" transform_rotate="0" transform_skew_x="0" transform_skew_y="0" transform_origin="" transform_scale_x_hover="1" transform_scale_y_hover="1" transform_translate_x_hover="0" transform_translate_y_hover="0" transform_rotate_hover="0" transform_skew_x_hover="0" transform_skew_y_hover="0" transition_duration="300" transition_easing="ease" transition_custom_easing="" animation_type="" animation_direction="left" animation_color="" animation_speed="0.3" animation_delay="0" animation_offset="" last="false" border_position="all" first="false"][fusion_text columns="" column_min_width="" column_spacing="" rule_style="" rule_size="" rule_color="" hue="" saturation="" lightness="" alpha="" content_alignment_medium="" content_alignment_small="" content_alignment="" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" margin_top="" margin_right="" margin_bottom="" margin_left="" fusion_font_family_text_font="" fusion_font_variant_text_font="" font_size="" line_height="" letter_spacing="" text_transform="" text_color="" animation_type="" animation_direction="left" animation_color="" animation_speed="0.3" animation_delay="0" animation_offset=""]

Edoardo Borghesio,
Redattore news.

April 4, 2023