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Tag: Kieran Culkin

Recensione A Real Pain – L’eredità del dolore

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A Real Pain è l’opera seconda di Jesse Eisenberg, che aveva esordito dietro la macchina da presa nel 2022 con When You Finish Saving the World, presentato al Sundance e poi alla Settimana della Critica al Festival di Cannes.

Se nel suo primo film Eisenberg raccontava il complesso rapporto tra una madre e suo figlio, in A Real Pain sceglie di concentrarsi sul legame tra due cugini che si ricongiungono per un viaggio in Polonia, alla ricerca delle loro radici famigliari. Attraverso le varie tappe del loro percorso, visitano i luoghi simbolo dell’Olocausto e ripercorrono la storia della nonna, cresciuta in quei territori estremamente segnati dal dolore e dalla memoria.

Ancora una volta, Eisenberg costruisce una dinamica fondata sul contrasto tra due personalità opposte. David (interpretato dallo stesso Eisenberg) è metodico, ansioso e sempre sull’orlo del disagio, con una vita apparentemente stabile fatta di famiglia e lavoro. Benji (Kieran Culkin), al contrario, è impulsivo, sfacciato e pieno di un’energia caotica che lo rende imprevedibile. Tuttavia, dietro la sua apparente sicurezza si cela una profonda fragilità, che emerge progressivamente nel corso del viaggio.

“Probabilmente vivremmo qui se la guerra non fosse scoppiata.”

David e Benji, ebrei americani di terza generazione, partecipano a un tour organizzato che li porta attraverso alcuni dei luoghi chiave della memoria storica. Il loro itinerario li conduce prima a Varsavia, poi a Lublino e infine al campo di concentramento di Majdanek.

Mentre il gruppo attraversa quei luoghi carichi di storia, Benji è l’unico a porsi delle domande. Di fronte agli orrori vissuti dai loro antenati meno di un secolo prima, si scontra con il paradosso della loro esperienza: visitano gli stessi luoghi viaggiando in prima classe, soggiornando in alberghi confortevoli, mentre proprio lì, in passato, i loro avi venivano deportati, torturati e brutalmente uccisi.

“Siamo in un fottuto tour dell’Olocausto. Se questo non è il momento di soffrire, di aprirsi, non so proprio cosa dirti!”

Alcune opere prime hanno spesso il difetto di essere dominate dall’incertezza di farsi comprendere ad ogni costo. In questo caso siamo davanti a un’opera seconda, che appare sì più matura e riuscita della prima, in cui Eisenberg affronta con coraggio delle tematiche molto delicate, ma che conserva anche alcuni difetti del suo primo film.

Jesse Eisenberg scrive dei personaggi che sono estremizzazioni di due tipi di personalità, che risultano quasi caricaturali. Di conseguenza, hanno una profondità limitata in quanto rappresentano archetipi di ossessioni, paure e problemi già esplorati altrove in maniera più complessa ed efficace. Se riescono a venir fuori, arrivando allo spettatore risultando umani, il merito è delle interpretazioni dei due protagonisti.

La caratterizzazione schematica dei personaggi influisce anche sulla componente drammatica del film. Per quanto il dolore dei personaggi sia centrale nella narrazione, non sempre riesce a colpire con l’intensità desiderata. In particolare, i traumi di Benji vengono enfatizzati non solo attraverso la messa in scena, ma anche da una sceneggiatura che tende a esplicitarli con dialoghi ridondanti. Questa insistenza nel sottolineare il suo tormento finisce per renderlo meno incisivo, quasi didascalico, privandolo della naturalezza necessaria a renderlo più potente.

A funzionare meglio è, a mio avviso, la componente comica. I momenti più riusciti nascono dagli scambi tra i due protagonisti e dalle loro interazioni con il resto del gruppo, che riescono a dar vita a situazioni esilaranti che funzionano in quanto, appunto, più naturali.

La regia di Eisenberg è sobria e funzionale al racconto, in netto contrasto con un ritmo di narrazione più veloce, quasi nevrotico e logorroico, che riflette perfettamente la personalità del suo autore. Ma più di ogni altra cosa, Eisenberg si riconferma un grande direttore di attori: il vero punto di forza del film è l’interpretazione magistrale di Kieran Culkin, che dimostra ancora una volta di essere uno dei migliori attori in circolazione. Culkin riesce a restituire a Benji grande profondità e umanità, che la sceneggiatura da sola non gli avrebbe garantito

Presentato al Sundance, A Real Pain si inserisce perfettamente nel filone del cinema indipendente americano contemporaneo, senza però cercare di distinguersi davvero.

Il regista preferisce rimanere ancorato ad un linguaggio cinematografico sicuro e riconoscibile, senza il desiderio di spingersi oltre o aggiungere qualcosa di nuovo nel panorama indipendente.

Attraverso il viaggio, tanto fisico quanto interiore, dei protagonisti, accompagnato dalle note malinconiche di Chopin, il film riesce però a restituire il valore della comprensione, della solidarietà e della memoria storica. Eisenberg mostra come il passato non sia mai davvero distante, ma continui a riverberarsi nel presente, lasciando tracce profonde nelle generazioni successive. Il peso della storia, ineludibile e persistente, diventa così un’eredità con cui fare i conti, un bagaglio che ciascuno porta con sé in modi diversi.

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Simone Pagano,
Redattore.

March 4, 2025
Oscar 2025 – Anora trionfa, agli altri le briciole

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Si è conclusa da poche ore la cerimonia di consegna degli Oscar 2025 che ha visto il trionfo assoluto di Anora di Sean Baker con 5 vittorie su 6 nomination nelle categorie principali: film, regia, sceneggiatura originale e montaggio tutti quanti a Sean Baker e miglior attrice a Mikey Madison. 4 Oscar per la stessa persona nella stessa edizione non capitava dal 1954 con Walt Disney, che però lo aveva vinto per film diversi, quello di Baker è un record. Certo questa vittoria così schiacciante ha colto di sorpresa, soprattutto per alcune categorie, ma è diventata palese man mano che il film si mangiava la concorrenza durante la nottata.

Per il resto gli Oscar 2025, condotti da Conan O’Brien, sono stati abbastanza ecumenici, distribuendo una manciata di premi a tutti gli altri film candidati: 3 premi per The Brutalist (attore protagonista Adrien Brody, colonna sonora e fotografia) e 2 per Dune: Parte Due (sonoro ed effetti speciali), Wicked (costumi e scenografia) ed Emilia Pérez (attrice non protagonista Zoe Saldaña e canzone El Mal). Conclave vince la sceneggiatura non originale, The Substance trucco e acconciatura, A Real Pain il miglior attore non protagonista a Kieran Culkin.

Rimane a bocca completamente asciutta A Complete Unknown che partiva con 8 nomination, mentre Emilia Pérez, nominato in ben 13 categorie, è stato ampiamente ridimensionato a 2 vittorie, venendo battuto persino come film internazionale dal brasiliano I’m Still Here.

Come primati, il miglior film di animazione Flow è in assoluto il primo Oscar della Lettonia, mentre Paul Tazewell è il primo costumista nero premiato nella storia degli Academy con Wicked. Demi Moore, che sembrava favorita come miglior attrice protagonista, è stata infine battuta da Mikey Madison (Anora), che a 25 anni è una delle più giovani attrici mai premiate. Non vince nulla Isabella Rossellini, figlia d’arte candidata come miglior attrice non protagonista per Conclave.

Conan O’Brien alla sua prima conduzione degli Oscar fa un buon lavoro, sicuramente migliore delle quattro edizioni di Jimmy Kimmel, intervenendo nei momenti giusti per ravvivare gli animi con delle battute caustiche il giusto, e l’assist occasionale di personaggi come Adam Sandler e John Lightow o momenti nonsense con il verme di Dune o un dancing Deadpool. Altro punto forte della cerimonia è stata la varietà e qualità dei presentatori degli Oscar, dalle cinquine di attori per costumi e fotografia al siparietto di Ben Stiller per il production design, da Mick Jagger a consegnare l’Oscar alla miglior canzone a Billy Crystal e Meg Ryan per annunciare il miglior film dell’anno.

In generale la cerimonia ha goduto molto dei momenti musicali meno dispersivi del solito e studiati ad hoc: l’apertura con Cynthia Erivo e Ariana Grande che cantano i brani tratti da Wicked, l’omaggio di Queen Latifah a Quincy Jones e quello alla saga di James Bond da parte di Lisa delle Blackpink, Doja Cat e Raye. Quest’ultimo arriva in particolare come celebrazione degli storici produttori di 007 Barbara Broccoli e Michael Wilson, che hanno recentemente ceduto il controllo artistico della serie ad Amazon; oltre all’omaggio musicale, già di per sé parzialmente fuori fuoco, è andata in scena una coreografia con protagonista Margaret Qualley nei panni di una Bond Girl.

Molto emozionante il tradizionale momento In Memoriam, accompagnato da un’esecuzione musicale (del Requiem di Mozart) fortunatamente più discreta del solito, che ricorda leggende come il recentemente scomparso Gene Hackman, David Lynch, James Earl Jones e Donald Sutherland, ma che purtroppo dimentica un grande attore come Alain Delon.

In generale, per quanto la serata sia filata piuttosto fluidamente e meno inceppata di altre edizioni, è stata notata l’assenza della politica e di riferimenti a Donald Trump, che sono sempre stati presenti negli ultimi anni. L’unico discorso più serio è stato il tributo ai vigili del fuoco onorati per il loro lavoro durante gli incendi di Los Angeles. Tra gli acceptance speech dei premiati è stato quello al miglior corto di animazione a In the Shadow of the Cypress l’unico a menzionare la guerra, mentre Zoe Saldaña ha ricordato le proprie origini da parte di una famiglia di migranti.

Personaggio sopra le righe della serata è stato Adrien Brody: sul red carpet ha ricevuto un bacio a stampo da Halle Berry che si è vendicata di quello datole dall’attore sul palco degli Oscar nel 2003; sempre Brody prima di ricevere il suo secondo riconoscimento di carriera come miglior attore, ha lanciato la gomma che stava masticando alla moglie. Ma non solo: nel chiedere più tempo per i ringraziamenti ha persino interrotto l’orchestra che lo incalzava a chiudere ricordando «Questo non è il mio primo rodeo».

Sean Baker, nell’accogliere la statuetta per la miglior regia dalle mani di Quentin Tarantino, lo ha ringraziato per aver per primo scritturato Mickey Madison in Once Upon A Time in Hollywood, e ha invitato cineasti, distributori e pubblico e preferire sempre la sala cinematografica invece dello streaming; sullo stesso tema è intervenuto con un breve siparietto anche Conan O’Brien. Il conduttore ha sostenuto un bel monologo di apertura, scherzando sui famigerati tweet di Karla Sofia Gascón e sulla recente acquisizione di James Bond da parte di Amazon.

Il bilancio sulla cerimonia è generalmente positivo, e anche i premiati rispecchiano un bel segnale verso il cinema indipendente e low budget (Anora è costato 6 milioni di dollari, l’altro front-runner The Brutalist meno di 10), benché appaia come Anora si sia mangiato tutti, e ci si domandi se fra qualche anno lo si riterrà ancora un film che meritava tanto riconoscimento.

Assolutamente bocciato invece il salotto italiano andato in onda su Rai 1 e condotto da Alberto Matano, dove i pur titolati ospiti (tra cui Giovanna Botteri, Piera Detassis e Paolo Mereghetti) hanno passato la nottata a discutere e sovrapporre le voci in continuazione, rendendo caotiche (e poco professionali) le pause dalla cerimonia principale, contenitore in fondo di osservazioni spesso confuse e poco articolate.

Ecco tutti i vincitori della 97° edizione dei premi Oscar:

Miglior film

Anora

The Brutalist

A Complete Unknown

Conclave

Dune: Parte due

Emilia Pérez

Io sono ancora qui

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 attore protagonista

Adrien Brody — The Brutalist

Timothée Chalamet — A Complete Unknown

Colman Domingo — Sing Sing

Ralph Fiennes — Conclave

Sebastian Stan — The Apprentice

Migliore attrice protagonista

Cynthia Erivo — Wicked

Karla Sofía Gascón — Emilia Pérez

Mikey Madison — Anora

Demi Moore — The Substance

Fernanda Torres — I’m Still Here

Miglior attore non protagonista

Yura Borisov — Anora

Kieran Culkin — A Real Pain

Guy Pearce — The Brutalist

Jeremy Strong — The Apprentice

Edward Norton — A Complete Unknown

Miglior attrice non protagonista

Ariana Grande — Wicked

Monica Barbaro — A Complete Unknown

Isabella Rossellini — Conclave

Felicity Jones — The Brutalist

Zoe Saldaña — Emilia Pérez

Miglior film straniero

The Girl with the Needle (Danimarca)

Emilia Pérez (Francia)

The Seed of the Sacred Fig (Germania)

I’m Still Here (Brasile)

Flow (Lettonia)

Miglior film d’animazione

Flow

Inside Out 2

Memoir of a Snail

Wallace and Gromit: Vengeance Most Fowl

The Wild Robot

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: Part Two

Emilia Pérez

Maria

Nosferatu

Miglior montaggio

Anora

The Brutalist

Conclave

Emilia Pérez

Wicked

Miglior sonoro

Dune: Part Two

A Complete Unknown

Emilia Pérez

Wicked

The Wild Robot

Miglior colonna sonora

The Brutalist

Conclave

Emilia Pérez

Wicked

The Wild Robot

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

Migliori costumi

A Complete Unknown

Conclave

Gladiator II

Nosferatu

Wicked

Migliori effetti speciali

Alien: Romulus

Better Man

Dune: Part Two

Kingdom of the Planet of the Apes

Wicked

Migliori trucco e acconciature

Emilia Pérez

Nosferatu

The Substance

Wicked

A Different Man

Miglior scenografia

The Brutalist

Conclave

Dune: Parte due

Nosferatu

Wicked

Miglior documentario

Black Box Diaries

No Other Land

Porcelain War

Soundtrack to a Coup d’Etat

Sugarcane

Miglior cortometraggio documentario

Death by Numbers

I Am Ready, Warden

Incident

Instruments of a Beating Heart

The Only Girl in the Orchestra

Miglior cortometraggio

A Lien

Anuja

I’m Not a Robot

The Last Ranger

The Man Who Could Not Remain Silent

Miglior corto di animazione

Beautiful Men

In the Shadow of the Cypress

Magic Candies

Wander to Wonder

Yuck!

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Enrico & Edoardo Borghesio,
Redattori.

March 3, 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
Recensione A Real Pain – La semplicità che emoziona

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A Real Pain, il nuovo film diretto da Jesse Eisenberg (The Social Network tra i suoi ruoli più famosi) è stato presentato da pochi giorni al London Film Festival e al Roma Film Festival, con un buon responso da parte degli spettatori. Vede protagonisti David e Benji (Kieran Culkin, per molti ancora Roman Roy di Succession), due cugini agli antipodi sociali e caratteriali. Dopo un periodo di allontanamento, si vedono costretti a riunirsi per affrontare insieme un viaggio attraverso la Polonia rurale e i campi di concentramento nazisti per onorare la memoria della loro amata nonna da poco defunta. La loro avventura prenderà una piega inaspettata quando riemergeranno tensioni tra di loro sullo sfondo di una complessa storia familiare e di due persone dalle fragilità irrisolte.

A Real Pain è un film toccante che indaga il rapporto con il senso di colpa sia nei confronti della memoria storica, sia nei confronti dei nostri errori di vita. Mentre i due protagonisti elaborano il lutto per la nonna, lavorano su sé stessi per riscoprirsi simili. Nella vita, del resto, è impossibile fallire: anche nei momenti più difficili, c’è sempre qualcosa da guadagnare: una lezione, una chiarezza, o la costruzione di un rapporto più profondo con una persona che sembra non avere nulla a che fare noi.

Soprattutto, A Real Pain è un interessante inserimento nell’industria cinematografica. Le recenti uscite hanno ambizioni stellari: che si tratti di un rischio creativo come quello di Megalopolis o di un fallito colpo grosso al box-office come quello di Joker Folie à Deux, il cinema contemporaneo tende a puntare alle stelle, anche nel momento in cui non se lo potrebbe permettere. Quello che fa Jesse Eisenberg è invece confezionare un film senza pretese, con l’interessante sostegno produttivo di Emma Stone. Il film è esattamente quello che è, nessun significato nascosto e nessun fuoco d’artificio. Ha quella giusta profondità per farci riflettere su tematiche importanti, ma che lo mantiene un film leggero. Ci lascia giusto lo spazio di un momento di silenzio condiviso tra i personaggi per poter trovare noi un’interpretazione al dolore, per poi ritornare sulla via del comico e del mondano, in un’ambientazione europea che sa un po’ di casa. Il film funziona perché è pensato come uno di quei film che viene acquisito per la televisione in tempi brevi — pensatelo su Rai Movie in prima serata tra qualche mese —, come un momento in famiglia davanti alla televisione, come una serata in leggerezza. Sembra quasi un film fermo al 2010, dove non c’era l’ossessiva necessità di ricercare l’originale e il sofisticato, ma c’era ancora spazio per la solita storia comoda e simpatica. E funziona perché è anni che non se ne vedono più di film così poco pretenziosi, che si poggiano sulla memoria storica condivisa e sul carisma di due protagonisti memorabili.

Zitto zitto, alla fine, si ritroverà comunque ben inserito all’interno della stagione dei premi, magari con una meritata vittoria come attore non protagonista a Kieran Culkin che ruba la scena senza nemmeno troppo sforzo. Armiamoci però di un po’ di pazienza: uscirà nelle sale il 27 febbraio 2025, cavalcando l’onda di qualche sicura e augurata nomination agli Oscar.

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Lara Ioriatti,
Redattrice.

October 20, 2024