FRAMES CINEMA

Tag: luca orusa

  • Recensione Diabolik – Chi sei?: il capitolo finale sul Re del Terrore

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    Arriva al cinema la conclusione della tanto discussa trilogia dei Manetti Bros. dedicata al personaggio creato dalle sorelle Giussani. Un’operazione a dir poco coraggiosa da un punto di vista produttivo, con la realizzazione in contemporanea del secondo e terzo film, quanto commercialmente fallimentare visto il basso riscontro di pubblico. La scelta dei registi di realizzare un’opera fedele al materiale di partenza, tramutando le tavole degli albi in film dallo stile e dal ritmo “fumettistici”, non è riuscita a ottenere l’apprezzamento degli spettatori, a causa di una messa in scena altamente artificiosa e prestazioni attoriali spesso non all’altezza della produzione, ma coerenti con il tono e le atmosfere che i film volevano trasmettere. Tuttavia, proprio per queste ragioni, il primo film della trilogia, a parere di chi scrive, aveva a sua disposizione più di un elemento interessante, proprio per questa scelta di messa in scena a dir poco sovversiva e anticommerciale, che lo distingueva dal piattume delle produzioni basate sui fumetti che hanno infestato i cinema negli ultimi anni. Il secondo capitolo tuttavia, oltre al cambio di attore nel ruolo principale, con il passaggio da Luca Marinelli a Giacomo Gianniotti come interprete di Diabolik, mostrava il fianco a una certa stanchezza risultando un film poco convincente.

    Dopo la visione si può affermare che Diabolik – Chi Sei?, pur non tornando ai livelli del primo capitolo, risulta essere un notevole passo avanti rispetto al secondo, risultando una più che degna conclusione della trilogia dedicata al Re del Terrore, nonché il film più cupo. Un elemento che nessuno dei tre film ha mai sbagliato è il prologo, in questo caso costituito da una sequenza di grande tensione con protagonista Carolina Crescentini, seguita da una serie di scene action sanguinolente mai presenti in così grande quantità nei film di Diabolik. Soprattutto nella prima parte della pellicola, i rimandi a Milano Calibro 9 sono molteplici, suggellati dalla presenza in un cameo di Barbara Bouchet, a cui si rimanda anche in una scena di spogliarello che ricorda la danza della stessa Bouchet all’interno del capolavoro di Fernando Di Leo.

    Mai come in questo film è centrale il rapporto tra Ginko e Diabolik, con il primo che ha finalmente la possibilità di scoprire la storia del suo nemico da cui è tanto ossessionato. Spesso i due sono posti ai margini della stessa inquadratura, camminano nella stessa strada ma passando per due percorsi diversi, Diabolik nell’oscurità e Ginko alla luce, in un continuo confronto a distanza ravvicinata. Giacomo Gianniotti continua a non convincere pienamente nella parte recitativa se non nei momenti in cui deve risultare minaccioso, nonostante visivamente sia il Diabolik perfetto e abbia il physique du rôle per interpretare il personaggio. Dopo il primo film con protagonista Eva Kant, un secondo dedicato a Ginko, questa terza parte è finalmente dedicata a Diabolik e alle sue origini, messe in scena attraverso flashback che hanno il difetto di rallentare il ritmo del film. Sequenze che restano tuttavia assolutamente suggestive, ambientate su un‘ isola, con scenografie e atmosfere che ricordano i film horror anni ‘60.

    Questo approfondimento sul protagonista limita fortemente lo spazio dedicato agli altri personaggi, ognuno dei quali compie tuttavia il proprio percorso evolutivo iniziato nei precedenti film, chiudendo il cerchio. Mastandrea si conferma un perfetto Ginko, mentre l’Eva Kant di Miriam Leone, nonostante sia fondamentale ai fini della trama, ha poco minutaggio, forse in conseguenza della gravidanza che stava portando avanti l’attrice durante le riprese, che ne limitava i ruoli più dinamici. Più spazio viene invece dedicato all’Altea di Monica Bellucci, che per quanto resti un’attrice di indubbio fascino capace di lavorare col proprio corpo e i propri movimenti, nel momento in cui recita le battute del copione raggiunge risultati disastrosi. Unico elemento veramente di contrasto rispetto a una recitazione, rispetto ai capitoli precedenti, di stampo decisamente più realistico e meno retrò, favorendo la visione da parte dello spettatore e rendendo Diabolik – Chi Sei? il film più classico della trilogia, pur mantenendo una certa rigidità nella sceneggiatura e tutti gli altri elementi di atmosfera che han caratterizzato l’opera dei Manetti Bros. Completano il comparto attoriale, oltre alla già citate Crescentini e Bouchet, Pier Giorgio Bellocchio che torna ad interpretare l’agente Palmer, Paolo Calabresi nei panni insoliti di un criminale, e i simpatici camei di Max Gazzè e Amanda Campana nei ruoli di due alter ego di Diabolik ed Eva Kant.

    La colonna sonora, firmata dal duo Pivio e Aldo De Scalzi, si conferma di pregevole fattura, oltre che costantemente presente, con rari momenti di silenzio all’interno del film. La canzone del film è invece stata prodotta dal celebre gruppo Calibro 35, che vantano all’interno della loro discografia diverse colonne sonore per ipotetici film mai realizzati, e cantata da Alan Sorrenti. Si conferma la cura a livello di design degli interni che contribuiscono a rendere Clerville una realtà tangibile e a catapultare lo spettatore in un’altra epoca.

    I Manetti Bros. giungono alla conclusione della loro trilogia cinematografica dedicata al Re del Terrore, un’opera basata su una scelta stilistica vintage ben precisa che ha fatto storcere il naso a più di uno spettatore, ma portata avanti in maniera coerente fino alla fine e risultando a conti fatti, uno dei progetti cinematografici italiani più interessanti prodotti negli ultimi anni. La disaffezione del pubblico verso il prodotto sembra tuttavia ormai confermata a dimostrazione che la scelta, per quanto originale, non si sia rivelata come previsto intelligente da un punto di vista commerciale.

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z_index_hover="" overflow="" background_type="single" gradient_start_color="" gradient_end_color="" gradient_start_position="0" gradient_end_position="100" gradient_type="linear" radial_direction="center center" linear_angle="180" background_color="" background_image="" lazy_load="avada" skip_lazy_load="" background_position="left top" background_repeat="no-repeat" background_blend_mode="none" render_logics="" sticky="off" sticky_devices="small-visibility,medium-visibility,large-visibility" sticky_offset="" absolute="off" absolute_top="" absolute_right="" absolute_bottom="" absolute_left="" filter_type="regular" filter_hover_element="self" filter_hue="0" filter_saturation="100" filter_brightness="100" filter_contrast="100" filter_invert="0" filter_sepia="0" filter_opacity="100" filter_blur="0" filter_hue_hover="0" filter_saturation_hover="100" filter_brightness_hover="100" filter_contrast_hover="100" filter_invert_hover="0" filter_sepia_hover="0" filter_opacity_hover="100" 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    Luca Orusa,
    Caporedattore.

  • Recensione Birth/Rebirth – Torino Film Festival 2023

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    Birth/Rebirth, opera prima della regista Laura Moss presentata nella sezione Crazies del Torino Film Festival 2023, è un mix moderno tra Frankenstein e Cronemberg, con protagoniste Marin Ireland e Judy Reyes, il volto di Carla in Scrubs, che qui torna nell’ambiente ospedaliero.

    Rose è una patologa forense che predilige il silenzio dei cadaveri ai tumulti delle interazioni sociali. Una sua ossessione segreta è la rianimazione dei morti. Celie è un’ostetrica la cui vita ruota attorno alla sua briosa e loquace figlia di sei anni, Lila. La tragica notte in cui Lila si ammala e muore improvvisamente, le vite di queste due donne s’intrecciano in modo irrevocabile. Si avventureranno lungo un buio sentiero da cui non c’è ritorno; e saranno costrette a confrontarsi con i limiti che sono disposte a superare per proteggere ciò che più amano.

    La soggettiva di un parto apre il film, a rimarcare l’importanza dell’atto della nascita all’interno della pellicola, interamente incentrata sul concetto di maternità e su cosa si è disposti a fare per tenere in vita i propri figli. Rose e Celie, due personaggi agli antipodi all’inizio del film, sociopatica, fredda e schiva la prima, materna e gentile la seconda, durante la loro evoluzione fanno proprie le caratteristiche della partner in crime, vivendo un ribaltamento di ruoli. Rose sviluppa un sentimento materno nei confronti di Lila, mentre Celie sprofonda progressivamente nell’abisso del male, diventando una persona prevaricatrice e capace di sacrificare tutto e tutti pur di tenere in vinta la propria figlia. E’ particolarmente interessante il percorso di Celie a livello concettuale: è proprio lei all’interno del film ad avere un’evoluzione in negativo, interpretata da Judy Reyes, l’iconica Carla di Scrubs, personaggio molto sensibile e dalla bontà innata,  con un ribaltamento di ruoli rispetto a Rose, e rispetto anche ai precedenti ruoli dell’attrice stessa.

    Tra budella umane realizzate con ottimi effetti pratici, pratiche illegali ed esperimenti scientifici in cui Rose gioca a fare dio e a riportare in vita una bambina nel Bronx, le due protagoniste “rinasceranno” in persone nuove, non  necessariamente con una connotazione positiva, costrette a portare con loro il fardello delle loro scelte.

    Se da un lato la regia della Moss è capace di trasmettere una sensazione di malessere perenne estremamente funzionale al racconto, dall’altro il rigore scientifico e la freddezza della messa in scena, della storia  e dei personaggi, soffocano la componente umana che avrebbe giovato alla caratterizzazione delle protagoniste e avrebbe facilitato l’empatia dello spettatore nei loro confronti, verso cui non si prova mai alcun tipo di sentimento. Inoltre qualsiasi tipo di ragionamento sull’etica delle azioni compiute viene lasciato in secondo piano se non totalmente azzerato, una mancanza non da poco visto il tema su cui viene costruita tutta la narrazione. Quello che resta è un film tutto sommato godibile, ma col freno a mano tirato, incapace di colpire davvero lo spettatore e di convincere fino in fondo.

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    Luca Orusa,
    Caporedattore.

  • Recensione Soleils Atikamekw – Torino Film Festival 2023

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    Chloé Leriche torna al Torino Film Festival dopo la partecipazione nel 2016, presentando il suo secondo lungometraggio nel concorso principale di questa edizione. A cavallo tra documentario e finzione, la storia narra della tragedia vissuta dalla comunità indigena  degli  Atikamekw nel 1977.

    Il 26 giugno di quell’anno, un veicolo precipita in un fiume poco fuori dalla comunità Atikamekw di Manawan, nel nord del Québec. Due persone di origine non indigena sopravvivono all’incidente, ma cinque membri della comunità Atikamekw perdono la vita. La polizia conclude le indagini dichiarando che si è trattato di un incidente, ma per le famiglie delle vittime molte domande rimangono ancora senza risposta (fonte Torino Film Festival).

    Se da un lato il tema del film non può che ricordare l’ultima opera di Martin Scorsese, e in questo senso Soleils Atikamekw è definibile come l’anti Killers of the Flower Moon. Non esiste epica all’interno del film della Leriche, costruito tutto sulla reazione come comunità degli Atikamekw alla tragedia avvenuta, elemento quasi completamente trascurato all’interno del film di Scorsese. Una comunità gioiosa che nel film dopo il lutto viene ritratta come composta da spettri che si aggirano nella notte, persone trasformate nei fantasmi di loro stesse dopo aver perso i propri cari. Questo elemento insieme ai segnali provenienti dall’al di là comunicati attraverso la luce del sole, aggiungono al mix tra documentario e finzione un’interessante componente di realismo magico. 

    Come nel film di Scorsese il bianco abbatte e uccide, sottolineato dalla scena più riuscita del film in cui i probabili assassini attraversano un corridoio di alberi abbattuti. Una foresta massacrata, come gli Atikamekw, che fanno del loro contatto con la natura una parte essenziale della loro vita. L’acqua del lago, dove sono stati ritrovati i cadaveri, possiede una memoria e per superare il lutto è necessario immergersi nel luogo dell’accaduto, cessando di avere paura di esso.  La polizia si disinteressa totalmente al caso, bollandolo come l’ennesimo evento problematico causato dagli indigeni. 

    La Leriche  è brava nel trasmettere una sensazione di inquietudine costante e di tragedia imminente nella prima parte della pellicola, messa in scena con un gusto visivo raffinato che può ricordare il cinema di Kelly Reichardt. Anche il disinteresse della polizia e la frustrazione della comunità per la mancata giustizia hanno un ruolo centrale nella narrazione. 

    Il problema principale che contribuisce alla non riuscita totale del film è la mancanza di quantità di materiale  sufficiente a reggere tutti i 100 minuti dell’opera. A metà della durata complessiva la pellicola va inesorabilmente ad arenarsi in una ripetizione continua di ciò che era stato mostrato precedentemente, perdendo mordente e depotenziando il messaggio che voleva trasmettere. Una grande occasione mancata visto il tema del film e il grande numero di intuizioni visive che la regista sfodera nella prima parte dell’opera.

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    Luca Orusa,
    Caporedattore.

  • Recensione Kubi di Takeshi Kitano – Torino Film Festival 2023

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    A sette anni di distanza dal suo ultimo film, torna al cinema Takeshi Kitano con la sua ventesima opera da regista, uno Jidaigeki presentato al Festival di Cannes, che coniuga perfettamente due elementi propri del regista giapponese: la violenza e la comicità dissacrante. Kitano mette le cose in chiaro riguardo le sue intenzioni sin dal titolo del film, il cui ideogramma viene mozzato, per poi essere seguito da una collezione di corpi martoriati in un fiume.

    Desiderando estendere il suo potere a tutto il Giappone, il signore della guerra Oda Nobunaga fu coinvolto in feroci battaglie con gli eserciti dei clan Mouri, Takeda e Uesugi, oltreché con le forze al servizio dei templi e dei santuari di Kyoto. Nel frattempo, il vassallo di Nobunaga, Murashige Araki, organizzò una ribellione e scomparve rapidamente. Nel frattempo il vassallo Hashiba, insieme a suo fratello Hidenaga e allo stratega militare Kuroda Kanbei, elaborò un piano per sottrarre il potere a Nobunaga e prendere lui stesso il controllo del Giappone (fonte Torino Film Festival).

    Con questa opera Kitano prosegue il percorso di decostruzione del genere iniziato con Zatōichi, facendo letteralmente a pezzi a colpi di katana il concetto di  Jidaigeki. In questo senso la violenza, di stampo assolutamente fumettoso e surreale e onnipresente all’interno del film, è assolutamente funzionale al concetto di distruzione e massacro dello regole del genere, regole rappresentate dai personaggi stessi, che devono essere uccisi nella maniera più violenta possibile. Kitano prende tutte gli stilemi quali l’onore, il coraggio e la lealtà tipiche dei samurai e li ridicolizza. 

    Due sono i principali schieramenti del film che si costituiscono tra gli innumerevoli personaggi. Da un lato il signore della guerra Nobunaga è un adolescente dai modi infantili capace di atti oltre il limite della crudeltà, che agisce per pura gelosia nei confronti dei propri amanti. In questo senso Kitano torna a mettere in scena dell’omosessualità tra i samurai come già aveva realizzato Oshima nel su Tabù – Gohatto.  Dall’altro  Hashiba, interpretato dal regista stesso, è un anziano impacciato che si diverte a mettere alla berlina tutte le persone che lo circondano. Non è un caso che Hashiba sia impersonato da Kitano stesso, che si trasforma metacinematograficamente in regista anche all’interno della narrazione, prendendosi gioco dei personaggi e demolendo il genere dal suo interno. 

    Il film, a trazione esclusivamente maschile, è una collezione di parassiti pronti ad abbandonare le proprie mogli in cerca di gloria, di codardi sempre favorevoli a farsi sostituire in battaglia da controfigure per evitare di andare incontro alla morte, di preti disposti a uccidere pur di ottenere la costruzione di una chiesa.

    Kitano costruisce la narrazione a partire da sequenze ironiche e mai epiche, neanche nelle grandi battaglie campali, massacrando ad uno a uno i vari personaggi e le tradizioni: neanche l’harakiri viene preso seriamente, con Hashiba che si lamenta delle lente tempistiche dell’esecuzione dell’atto.

    Con Kubi Kitano torna al cinema con una commedia irresistibile, costruita su una lenta ma inesorabile trasformazione dello Jidaigeki in film demenziale, che conferma come il grande regista abbia ancora alcune frecce al suo arco e sia capace di innovare non curandosi delle regole che il genere cinematografico impone. Certamente nel caso in cui queste frecce dovesse tirarle Hashiba, farebbe eseguire l’atto a uno dei suoi sottoposti per poi prendersi gioco di lui.

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    Luca Orusa,
    Caporedattore.

  • Recensione Cerrar los ojos – Torino Film Festival 2023

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    Dopo la polemica all’ultimo Festival di Cannes, causata dall’ambiguità sull’ammissione o meno al concorso principale, arriva anche al Torino Film Festival nella sezione Fuori Concorso la nuova opera del regista spagnolo Víctor Erice, suo primo lungometraggio dopo un’attesa di 30 anni dal suo precedente film.

    Il famoso attore spagnolo Julio Arenas scompare mentre sta girando un film. Anche se il suo corpo non viene mai ritrovato, la polizia conclude l’istruttoria sostenendo che è stato vittima di un incidente in mare. Molti anni dopo, il mistero che circonda la sua scomparsa torna alla ribalta grazie a un programma televisivo che ne racconta la vita e la morte, mostrando le immagini esclusive delle ultime scene in cui ha recitato, riprese da un suo caro amico, il regista Miguel Garay (fonte Torino Film Festival).

    Il film si apre con il girato in pellicola dell’ultima opera di Julio Arenas prima della scomparsa. Un uomo incarica il personaggio interpretato da Julio di cercare sua figlia per poterla incontrare  ancora  una volta prima della sua imminente dipartita, per poter essere osservato come solo la figlia era capace di fare, con un intenso sguardo di addio. Uno sguardo di addio che anche Julio in seguito volgerà al regista Miguel attraverso la telecamera. Uno dei due personaggi di tale preludio, nel descrivere le componenti della scacchiera, definisce il re degli scacchi come la pedina più triste: Miguel Garay, il regista nonché protagonista del film, è a suo modo un re, un direttore, affetto da una profonda malinconia dopo una vita costellata di lutti e ambizioni non rispettate. Inizialmente disilluso sul ruolo contemporaneo del cinema, in cui si sente un dinosauro, una persona cresciuta nell’analogico e costretto a vivere in un mondo dominato dal digitale, si interroga su quanto la bellezza dell’arte possa diventare una routine se vissuta ogni giorno, come le esperienze vissute da una guida del museo del Prado chiamata a ripetere le stesse cose tutti i giorni ai turisti. 

    Miguel e Julio sono collegati da un rapporto di amicizia e sono due facce della stessa medaglia, tra fidanzate condivise e vestiti indossati da entrambi. Sono collegati persino dagli elementi naturali, con epifanie che sopraggiungono in momenti di pioggia. Lo speciale del programma televisivo è l’occasione per Miguel di ritornare a riflettere sul rapporto che aveva con l’amico prima della sua scomparsa. La prima metà del film rimanda in qualche modo a Quarto Potere, alla difficoltà nel tratteggiare, definire e comprendere una persona. Come in uno specchio metacinematografico, Julio passa dall’interpretare un personaggio incaricato di trovare una bambina nella finzione, all’essere cercato dai propri amici e dalla propria famiglia nella realtà. Tutte persone che non lo han dimenticato e che ancora si interrogano sulla sua scomparsa.

    Víctor Erice costruisce tutta il film attraverso primi piani insisti sui volti e sugli occhi, sugli intensi sguardi degli iconici personaggi che costellano tutta la pellicola, delineati attraverso raffinati dialoghi di grande genuinità, con il susseguirsi di scene apparentemente fini a sé stesse che sono tuttavia funzionali alla costruzione delle loro psicologie. Il titolo stesso della pellicola significa “chiudi gli occhi” a confermare l’importanza data allo sguardo e all’immagine. 

    Il percorso di Miguel, da regista disilluso ad artista che utilizza il cinema per cercare di salvare e ricostruire una persona, risulta dunque coerente e quasi autobiografico di Víctor Erice, tornato dopo più di 30 anni a dirigere un film, come se si fosse reso conto di avere ancora qualcosa da raccontare. Perché l’arte, il cinema e la potenza delle sue immagini possiedono ancora un ruolo salvifico. La nostra vita è rappresentata da una collezione di immagini, foto, riprese e ognuna di esse può essere fondamentale nella definizione di noi stessi. Almeno finché ci sarà il rumore di un proiettore, è lecito credere nei miracoli che solo il cinema è capace di produrre.

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    Luca Orusa,
    Caporedattore.

  • Recensione Los Delincuentes – Torino Film Festival 2023

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    Presentato nella Sezione Un certain regard dell’ultimo Festival di Cannes e candidato per l’Argentina agli Oscar 2024, arriva anche al Torino Film Festival 2023 la nuova opera di Rodrigo Moreno nella sezione Fuori Concorso. Il film del regista argentino consiste in un fluviale heist-movie di 3 ore, condito con elementi da commedia surreale. 

    L’impiegato di banca Morán escogita un piano per liberarsi della monotona routine lavorativa: rubare abbastanza soldi per garantirsi un modesto pensionamento, confessare tutto alle autorità e trascorrere un po’ di tempo in prigione intanto che un suo collega custodisce i soldi. Il suo complice è Román che, immediatamente messo sotto pressione da un investigatore della compagnia, decide di recarsi verso un’idilliaca e remota zona rurale per nascondervi la refurtiva (fonte Torino Film Festival).

    Il film si apre con l’inquadratura di un completo da impiegato poggiato su una sedia, a rimarcare immediatamente l’importanza del lavoro all’interno del film. Lavoro inteso tuttavia come prigionia, come un aguzzino che ritma le nostre vite e annulla la nostra libertà. Il regista segue Morán nel suo lento percorso mattutino, sottolineando come il protagonista faccia di tutto pur di non recarsi presso il suo ufficio, pur di ritardare l’agonia quotidiana. E’ meglio stare 3 anni e mezzo in carcere o 25 in una banca? L’interrogativo alla base del film è solo un esempio dei molteplici parallelismi tra vita lavorativa e prigionia, dalle grate presenti sia nelle carceri fatiscenti che nella banca, al direttore della filiale dove lavorano  Morán e Román che è interpretato dallo stesso attore che impersona uno dei detenuti più importanti della prigione. Il lavoro è prigionia e ci controlla anche nelle nostre conversazioni, come afferma Morán ricordando che quando si incontra qualcuno per la prima volta, una delle prime domande che si rivolge è “che lavoro fai?”.

    Il piano di Morán di ottenere la libertà e fuggire verso un luogo non contaminato dall’uomo, la regione dell’Alpa Corral, conquista anche  Román, l’impiegato perfetto amante della vita da città,  che tuttavia viene ammaliato dalle bellezze della regione. Luogo impersonato da Norma, ragazza che sconvolgerà le vite dei due protagonisti, vera trasposizione in forma umana della natura e di conseguenza non reale. Natura che inevitabilmente non verrà immediatamente compresa dagli abitanti della città, ma che nel finale sospeso confermerà l’impatto avuto sulle vite dei due protagonisti. Una fuga nella natura definitiva o temporanea di cui  Morán e  Román, due facce della stessa medaglia, necessitano per sopravvivere all’iperproduttività della società contemporanea. La società capitalista viene raffigurata dal personaggio della Ortega, teatrale e malefica, che distrugge le carriere dei colleghi di  Morán, a causa della rapina di quest’ultimo. Ogni persona della pellicola rappresenta il simbolo di uno degli aspetti della vita contemporanea.

    Il contrasto tra la natura che rimanda al western e la città è sottolineato dal grande lavoro realizzato sul sonoro, che risalta la differenza tra la cacofonia di Buenos Aires rispetto alla pace dell’Alpa Corral, tramutando in film in un vero e proprio atto d’amore verso questa regione.

    Questo inno alla libertà travestito da heist movie atipico, condito di scene comiche surreali, tra siparietti con protagonisti bicchieri d’acqua  e sedie scricchiolanti, risulta essere un instant cult da recuperare.

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    Luca Orusa,
    Caporedattore.

  • Ash Vs Evil Dead – Guida veloce su come staccare la testa a un demone

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    “Ash may be a perverted drunk with racist tendencies, but he has his moments.”

    Questa frase pronunciata da Kelly, una delle protagoniste della serie Ash vs Evil Dead è indubbiamente la migliore recensione possibile dell’opera in oggetto. Di conseguenza, tutto ciò che leggerete qui di seguito è totalmente superfluo. Tuttavia, se volete dare una chance alle righe che trovate qui sotto, esse cercheranno di convincervi a dare una possibilità anche a questa piccola serie, che ogni fan dell’horror dovrebbe recuperare.

    Prodotto dalla mente di Sami Raimi,  Ash vs Evil Dead è ufficialmente il seguito della trilogia della Casa (Evil Dead in originale, a cui abbiamo dedicato una puntata del nostro podcast Strade Perdute), ambientata in un universo cinematografico ancora scolpito nei cuori degli appassionati del cinema horror e non solo, di cui fanno parte anche il remake del 2013 e il recente La casa – Il risveglio del Male, il cui successo al botteghino ha confermato come gli spettatori siano ancora affezionati alle storie che hanno luogo in quel mondo. Ambientata 30 anni dopo gli eventi della trilogia originale, la serie vede il ritorno del mitico Ash Williams, interpretato da Bruce Campbell, che viene nuovamente chiamato ad affrontare il male puro. Raimi, che dirige l’episodio pilota, oltre a Campbell richiama un’altra storica collaboratrice, l’iconica Lucy Lawless, interprete di Xena nell’omonima serie ideata dallo stesso Raimi. Un cast estremamente groovy per una serie di 3 stagioni costruita su tutti gli elementi che hanno reso famosa la trilogia della Casa: il risultato non può essere che un nuovo instant cult, un must-see per i fan dell’originale.

    La serie è caratterizzata da 3 stagioni che vanno in crescendo, con una quantità di follia messa in scena sempre maggiore, il tutto condito  con un quantitativo abbondante di sangue e budella. Nessuna delle puntate che compongono l’opera si risparmia sulla violenza e sul cattivo gusto, tra deadite, demoni millenari e motoseghe, che sono unite costantemente all’ironia che ha reso famoso il secondo e terzo capitolo della trilogia originale, con Ash che torna un po’ più vecchio ma sempre pronto a parlare di sesso, ubriacarsi e sparare punch line molto groovy una dietro l’altra. L’inizio della serie è esemplificativo del tutto: Ash, per conquistare una donna raccattata in un bar, legge il Necronomicon ad alta voce in preda ai fumi dell’alcol e delle droghe. Un incipit demenziale pienamente in linea con il mondo di Evil Dead. 

    Uno dei principali meriti della serie è l’ampliamento dell’universo in cui le vicende sono ambientate, esplorando il mondo delle forze del male e dei meccanismi di potere che operano nell’oscurità per il controllo dell’aldilà.

    Il risultato finale è un’opera unica nel suo genere che, in pieno stile Raimi, riesce a divertire e terrorizzare, sempre pronta a unire sonore risate al puro disgusto per lo splatter messo in scena. Un equilibrio miracoloso che riesce a divertire con l’horror puro, capace di correre sul bordo che separa un buon prodotto dal trash puro, e la demenzialità dalla comicità di bassa lega. Certo non aspettatevi un umorismo raffinato, dato che le linee di dialogo sono spesso grezze e burbere come Ash, ma è giusto dare loro il merito di essere tremendamente originali nella loro follia. Spesso durante la visione penserete di non poter vedere qualcosa di più folle di quanto appena mostrato, ma la serie sarà sempre capace di stupirvi in tal senso e di alzare (o abbassare, a seconda del punto di vista), l’asticella. Il tutto viene gestito da una regia di mestiere, che omaggia continuamente il capolavoro di Raimi, con l’utilizzo della Shaky Cam e dei piani olandesi.

    Prima di iniziare la visione dovete tuttavia mettere in conto un fattore:  Ash Vs Evil Dead alla fine della terza stagione fu cancellata e il finale non si può definire compiuto al 100%. Senza fare spoiler, il finale della terza apre a uno scenario completamente nuovo e dalle potenzialità infinite, e non possiamo che provare rammarico per non potere assistere alla conseguenze di ciò. Tale conclusione omaggia il finale alternativo de L’armata delle tenebre (che potete trovare su  youtube, nel caso in cui non temete gli spoiler), terzo capitolo della trilogia originale, a suo tempo bocciato dalla Universal perché considerato troppo “deprimente” e troppo cinico.

    Se da un lato non possiamo che dispiacerci per il mancato proseguimento della serie, dall’altro il finale della terza stagione è in piena linea con i finali aperti e scioccanti a cui Raimi ci ha sempre abituato in tutta la sua carriera, compresa la trilogia della Casa. Un ulteriore elemento per intraprendere la visione di questo piccolo gioiello della commedia horror.

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    Luca Orusa,
    Caporedattore.

  • Recensione Mission: Impossible – Dead Reckoning – Parte uno

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    Arriva al cinema dopo 5 anni di attesa il nuovo capitolo della saga di Mission: Impossible, afflitto da non pochi problemi produttivi, tra cui le riprese durante il Covid, ma spinto dal successo dello scorso anno di un altro film con protagonista Tom Cruise: Top Gun: Maverick. La pellicola è la prima parte di un dittico diretto da Christopher McQuarrie, alla sua terza regia di un film del franchise. 

    Come già accaduto in alcuni capitoli della saga, il film si apre con la presentazione del villain del film che, con una tempistica a dir poco perfetta, risulta essere una potente Intelligenza Articiale, l’Entità, capace di portare su una nuova scala possibili conflitti mondiali,  proprio nell’anno in cui sono stati rilasciati i primi programmi di Intelligenza Artificiale gratuiti al pubblico. Un’ AI, la cui forza risiede nella sua natura digitale, capace di plasmare le menti delle persone, bombardandole con input che giungono dai numerosi dispositivi che popolano la nostra realtà quotidiana, evidente riferimento agli algoritmi su cui sono costruiti i social e il web in generale che negli ultimi anni hanno creato delle bolle attorno ai singoli individui. Un’arma su cui tutte le potenze mondiali vogliono mettere le proprie mani per assicurare il proprio dominio nel mondo del futuro, devastato dai cambiamenti climatici. Attorno alla ricerca di una chiave capace di controllare questa Entità, il MacGuffin di turno per collegare scene action e cambi di location dal sapore decisamente vintage, viene costruito l’intero film. La scelta di un nemico digitale, porta la pellicola a essere un grande omaggio all’analogico, all’ennesimo spettacolare stunt di Tom Cruise e al ridotto utilizzo della CGI: un omaggio al cinema in quanto prodotto artigianale realizzato da persone che amano profondamente la settima arte. 

    Se da un lato la sceneggiatura segue il pilota automatico senza particolari guizzi, dall’altro Cruise e McQuarrie assicurano l’ennesimo ottimo film della saga, grazie a sequenze d’azione di alto livello e grandi interpretazioni e caratterizzazioni dei personaggi.

    Questi ultimi risultano essere la principale forza del film, anche grazie ai nuovi arrivati. Il personaggio di Hayley Atwell interpreta a tutti gli effetti la co-protagonista del film, con numerose sequenze action in cui ruba addirittura la scena a Tom Cruise, come se quest’ultimo volesse farsi leggermente da parte. Personaggio intraprendente eppure pieno di difetti, interpretato da una brava attrice che – dopo la carriera all’interno dell’MCU – dimostra di essere a suo agio nel mondo dell’action. Dalla parte dei villain troviamo invece Esai Morales a interpretare la pedina umana dell’Entità, con una caratterizzazione al minimo sindacale in attesa di futuri approfondimenti. Ma la vera punta di diamante tra i nuovi innesti è indubbiamente Pom Klementieff che interpreta un personaggio spietato e macchiettistico, pienamente in linea con lo spirito della pellicola, ma che allo stesso tempo risulta essere sperimentale: la sua caratterizzazione è basata esclusivamente sulla sua espressività e su pochissime linee di dialogo, un personaggio da film muto, indubbiamente inusuale in un blockbuster hollywoodiano. 

    Se da un lato i nuovi arrivi sono funzionali alla pellicola, dall’altra non tutti i comprimari dei film precedenti trovano il giusto spazio. In particolare l’Ilsa di Rebecca Ferguson viene limitata da un ridotto minutaggio e con un arco evolutivo meno impattante sulla trama rispetto alle probabili intenzioni del regista, a causa di alcune scene action realizzate in maniera anticlimatica con lei protagonista. Oltre a Ving Rhames, Simon Pegg e Vanessa Kirby, viene ripescato dal primo film della saga anche Henry Czerny, che interpreta il direttore della CIA Eugene Kittridge, che per questo film assume parzialmente il ruolo di  comic relief.

    E infine il grande protagonista della pellicola, Tom Cruise, che dà una svolta al personaggio di Ethan Hunt. Oltre a lasciare maggiore spazio ai comprimari, Ethan in questo film, forse per la prima volta, fallisce veramente e viene sconfitto durante il film. Nella famosa scena del salto nel vuoto con la moto già mostrata nei trailer, Ethan esita, la ritiene un’azione assurda: la stessa persona  che si era attaccata ad un aereo in decollo nei capitoli precedenti. Per la prima volta è disposto a farsi da parte e lasciare più responsabilità agli altri in quanto non più in grado di sostenere tutto il peso da solo. 

    Mai come in questo film non è possibile fidarsi dei propri amici, ognuno dei quali possiede due facce, aspetto sottolineato dai primi piani sugli attori che all’interno dello stesso dialogo sono posizionati alternativamente in due diverse metà dello schermo a seconda della linea di dialogo.

    Se da un lato viene data importanza al lato epico tipico del finale di una saga, dall’altra mai come in questo film si utilizza l’ironia per alleggerire il tono: da un lato ci si prende gioco in primis dell’IMF stessa e dell’assurdità della sua struttura, dall’altro Ethan Hunt sembra più impacciato e goffo del solito. Neanche la grandeur americana e la brama di dominio degli Stati Uniti sono esenti da critiche in questo film, fattore non così comune da trovare in altri blockbuster.

    Rispetto a Mission: Impossible – Fallout, il film soffre sicuramente di un’eccessiva lunghezza e di un ritmo più compassato, oltre ad una certa mancanza di fluidità nella prima parte, dovuta in particolare a un pesante didascalismo nei dialoghi.

    Tuttavia grandi sequenze action, ottimi personaggi e alcune scene costruite con una tensione hitchcockiana, mettono in ombra i classici cliché del genere e gli altri difetti e fanno di Dead Reckoning un ottimo capitolo della saga, in attesa della conclusione in arrivo il prossimo anno.

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    Luca Orusa,
    Caporedattore.

  • Recensione Antidisturbios – Un gioiello da scoprire

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    Presentata fuori concorso durante la 38esima edizione del Torino Film Festival e disponibile su Disney+, la serie Antidisturbios: Unità antisommossa di Rodrigo Sorogoyen, distribuita a livello internazionale come Riot Police, è caduta nel dimenticatoio degli immensi cataloghi delle piattaforme streaming a cui sono destinati molti prodotti di altissimo livello non valorizzati dall’algoritmo. Il regista spagnolo, di cui abbiamo recensito recentemente la sua nuova opera As Bestas, timbra con questa miniserie un piccolo gioiellino da scoprire.

    I protagonisti della vicenda fanno parte di un’unità della polizia antisommossa di Madrid, coinvolta nell’uccisione di un ragazzo africano durante lo sgombero di un edificio avvenuto in maniera non regolamentare. Ad indagare su di loro ci sarà Laia Urquijo interpretata da una brava Vicky Luengo, un’agente degli affari interni ossessionata dalla faccenda e pronta a scavalcare i suoi superiori pur di raggiungere la verità. Partendo da incipit la sceneggiatura, scritta a quattro mani da Sorogoyen e dalla fidata collaboratrice Isabel Peña, ha l’abilità di trasformare un classico esempio di violenza della polizia in un racconto molto più stratificato, umano e capace di unire cinema d’azione a intrighi politici e a tematiche quali razzismo, corruzione della società e lotta di classe. L’inizio della prima puntata mette subito le cose in chiaro, mostrandoci la famiglia di Laia intenta a giocare a carte. Anche in un ambiente apparentemente gioioso e protetto, i sotterfugi e le menzogne sono onnipresenti e capaci di trasformare un’atmosfera pacifica in una situazione di grande tensione. 

    La forza principale dell’intera serie sta nella scrittura dei personaggi, tutti estremamente realistici e per questa ragione sgradevoli. Invece di cadere nel classico discorso di denuncia delle violenze perpetrate dalla polizia, l’unità antisommossa protagonista della vicenda è composta da una notevole varietà di personaggi che viene mostrata nella sua quotidianità. Si passa dunque da momenti in cui la loro furia, violenza e razzismo la fanno da padrone, con gesti efferati e totalmente ingiustificabili, ad altri di vita di tutti i giorni, in cui sono dei padri di famiglia che cercano un miglioramento economico, o cercano di costruire il futuro proprio e dei figli, o sono messi in scena in momenti di profonda depressione e di sindrome da stress post traumatico. L’uomo alpha, duro e coriaceo, viene lentamente decostruito e mostrato nelle sue insicurezze. 

    Una varietà di punti di vista, di luci ed ombre, che condivide anche la protagonista Laia, inizialmente dipinta come un’eroina, e che a più riprese mostra invece una totale mancanza di empatia verso chi la circonda. L’ossessione che vive per il raggiungimento della verità la porta a sfruttare lo stato di depressione delle persone per ottenere informazioni, e non si fa scrupoli a manipolare e tradire la fiducia di collaboratori e amici. Infatuata di uno dei poliziotti su cui sta indagando dal punto di vista puramente sessuale, non si fa problemi ad avere un rapporto sessuale con lui, “scopando” il corpo di polizia, ma tradendo di conseguenza il suo ragazzo. Questo realismo insistito porta ad un disorientamento e alla perdita di certezze da parte dello spettatore, che si ritrova a empatizzare con delle persone solo  apparentemente buone. Personaggi che sono tuttavia pronti a ribaltare l’opinione e a distruggere ogni convinzione di chi osserva le loro gesta.

    I protagonisti sono immersi nel marcio della società, comandata dagli interessi dell’economia capitalista e dei potenti, che non si preoccupano di sacrificare le fasce meno abbienti della popolazione e i poliziotti stessi, considerati come semplice manodopera del corpo di polizia e che nel grande disegno risultano privi di valore. Attraverso questo mondo marcio, omertoso e pieno di nepotismo, in cui sono i soldi a muovere i fili dietro alla realtà, Sorogoyen parla anche di manipolazione e falsificazione dell’opinione pubblica, della distruzione della vita personale a favore di quella lavorativa e della corruzione che prima o poi raggiunge anche chi crede nella vera giustizia, quest’ultimo aspetto sottolineato con l’utilizzo di ribaltamenti dell’inquadratura con cui vengono mostrati alcuni personaggi. Viene dato anche ampio spazio al ruolo della tecnologia, tra video salvati su cloud che risultano essere di fondamentale importanza per le indagini e il largo utilizzo dei social.

    Da grande regista di scene d’azione e thriller qual è, Sorogoyen non rinuncia a sequenze spettacolari come la battaglia infernale fuori dallo stadio, girate con virtuosistici piani sequenza, questi adottati anche nei dialoghi di grande tensione, macchina a mano e un ritmo incalzante. Senza lasciare tempo allo spettatore di respirare, anche nei momenti di calma vengono adottati primi piani insistiti che risultano in scene soffocanti, grazie anche alla bravura degli attori. 

    Al termine di questo lungo viaggio nel marcio della Spagna e dopo aver imparato a comprendere e a empatizzare con personaggi respingenti, Sorogoyen ci ricorda come vincere una battaglia non permette necessariamente di vincere la guerra e che forse il prezzo da pagare è troppo alto, senza di fatto portare a un miglioramento. L’inquadratura finale su una nave da crociera probabilmente piena di migranti e pronta allo sgombero, non può che risultare un triste presagio di un’altra imminente tragedia che sta per compiersi.

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    Luca Orusa,
    Tesoriere Associazione e caporedattore.

  • Recensione As Bestas – Una brutalità sovversiva

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    Presentato fuori concorso durante la 75esima edizione del Festival di Cannes e vincitore di 9 Premi Goya (i David di Donatello spagnoli), il sesto film del grande regista spagnolo Rodrigo Sorogoyen arriva finalmente anche in Italia, distribuito da Lucky Red. Sorogoyen, che vanta anche una candidatura all’oscar per il miglior cortometraggio con Madre, opera da lui stesso ampliata con l’omonimo lungometraggio uscito due anni più tardi, torna al cinema con una storia di tensione e violenza sociale all’interno di un piccolo borgo galiziano,  scritta a quattro mani insieme alla storica collaboratrice Isabel Peña. 

    Il film si apre con il soggiogamento di un cavallo da parte di due aloitadores, ovvero dei domatori di cavalli, figure famose nella Rapa das Bestas. Questa tradizione fortemente sentita in Galizia consiste nel cercare di bloccare a mani nude dei cavalli con l’obiettivo di fermare e isolare ogni soggetto per rasargli la criniera. Un’operazione con cui gli uomini stringono in una morsa il muso dell’animale, creando una composizione tra braccia e testa del cavallo che sembra quasi un abbraccio. Dopo questa sequenza la narrazione si sposta nel bar del borgo in cui avrà luogo l’intera pellicola, uno scenario che risulta essere un vero protagonista insieme agli altri personaggi. Qui un gruppo di spagnoli, capitanati da Xan, interpretato da un inquietante e bravissimo Luis Zahera, è occupato a giocare e a discutere sulla propria vita, mettendo in mostra le paranoie della piccola comunità riguardo al mondo che li circonda. Una comunità disastrata, apparentemente senza futuro, costituita da case fatiscenti e da una povertà economica dilagante. Di spalle si staglia una figura silenziosa, un francese di nome Antoine, uno dei protagonisti del film, interpretato da Denis Ménochet, attore di caratura internazionale che a breve vedremo anche nel nuovo film di Ari Aster Beau is afraid. 

    Lo scontro che si sviluppa tra Xan e Antoine è il nucleo principale di buona parte della pellicola, messo in scena con un crescendo di grande tensione. Sebbene il soggetto dell’opera, ovvero il tentativo di un francese non visto di buon occhio di costruire un progetto di vita in una comunità straniera, non può che ricordare il grandissimo film nostrano Il vento fa il suo giro di Giorgio Diritti, scritto a quattro mani insieme all’amico sceneggiatore Fredo Valla, la pellicola di Sorogoyen prende una direzione completamente diversa. Il film è un connubio tra thriller e dramma famigliare, raccontato dal punto di vista di Antoine e sua moglie Olga, interpretata da Marina Foïs. Lui, ex professore e viaggiatore, porta avanti l’idea di una natura pura, incontaminata, un luogo dove poter assaporare l’idea di una slow life, lontana dalla caoticità della città. Il borgo è un luogo in cui poter coltivare un orto biologico, lento, non intensivo, una bandiera ecologista contro l’industria. 

    Per quanto venga spesso chiamato con l’appellativo di “francesino” da Xan, lo scontro con i compaesani nasce principalmente da una divergenza di visioni sul futuro, in quanto Antoine si oppone all’installazione di pale eoliche che dal suo punto di vista andrebbero a deturpare l’ambiente circostante, ma che tuttavia porterebbero grande giovamento economico alla gente del posto. 

    La sua battaglia contro questi i mulini a vento, e il fatto che siano proprio le pale eoliche il motivo della discordia nel paese di Cervantes non può essere casuale, vengono visti da Xan e suo fratello minore Lorenzo come l’imposizione di un borghese, un conquistatore francese di napoleonica memoria, che impedisce loro un riscatto sociale. Le ragioni della coppia di fratelli vengono espresse con dialoghi di grande raffinatezza, nonostante siano due personaggi dai modi spesso infantili, in particolare la figura di Lorenzo, affetto anche da un lieve ritardo dovuto a un incidente con un cavallo accaduto tempo prima. Entrambi hanno vissuto un’esistenza infelice, senza scopo, in una realtà priva di futuro, repressi sessualmente in un luogo quasi privo di donne e pronti a scoppiare in atti di violenza da un momento all’altro. Due veri e propri  aloitadores pronti a sopraffare Antoine, tra imboscate notturne, apparizioni spettrali nei boschi e minacce, riprese dalla telecamera di Antoine che sottolinea l’importanza dell’immagine, della testimonianza, soprattutto nel clima di omertà condiviso dalla polizia locale. 

    Sorogoyen con questo film coniuga lo stile thriller tipico delle sue prime opere, mantenendo in maniera trattenuta alcuni virtuosismi che hanno reso celebri film come Che Dio ci perdoni, Il regno (entrambi disponibili su Prime Video) e la serie Antidisturbios (disponibile su Disney+), con quello del dramma intimo sviluppato nello splendido e sovversivo Madre, trasformando la onnipresente tensione in una vicenda famigliare, realizzata con atmosfere sospese, case distrutte, sogni infranti. La forza di As Bestas sta nel mettere in scena l’idea di un’umanità capace di adattarsi alla brutalità animalesca mostrata nella prima metà del film. Una brutalità primordiale insita nel luogo, che risulta essere sovversiva proprio perché accettata. Un adattamento che vivono le figure femminili del film, con un processo che sfugge alla razionalità, perché “per comprendere qualcosa forse è necessario viverlo”. Un microcosmo brutale, senza dio e senza speranza, in cui l’uomo scopre tuttavia di potersi ambientare e con cui è in grado di convivere. Sfruttando un comparto attoriale in grande spolvero, il cinema di Rodrigo Sorogoyen cambia nuovamente forma,  regalandoci l’ennesima grande opera da parte del regista spagnolo.

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    Luca Orusa,
    Tesoriere Associazione e caporedattore.