FRAMES CINEMA

Tag: maria cagnazzo

  • Recensione Disclosure Day – gli alieni siamo noi

    Recensione Disclosure Day – gli alieni siamo noi

    La meraviglia è un sentimento che percepiamo nel momento in cui osserviamo un fenomeno fuori dall’ordinario. Per quanto la fantascienza sia apprezzata solo dagli amanti del genere è evidente che le opere di questa categoria siano inclini a suscitare quella incredulità data da eventi non comuni, da situazioni che nella quotidianità sarebbero impossibili. 

    È innegabile che Steven Spielberg sia un maestro nel plasmare l’immagine cinematografica, trasformandola in stupore. La sua passione per gli alieni ci ha trasportati in realtà fantastiche in diverse occasioni, da Incontri ravvicinati del terzo tipo a E.T., fino a La guerra dei mondi. Oggi ci riporta in sala con Disclosure Day, che, nonostante alcune evidenti criticità, affronta il tema provando a interrogarsi sul concetto di umanità.

    L’attesa della rivelazione

    Se scoprissimo che esistono altre forme di vita nell’universo vorremmo farlo sapere o preferiremmo privare tutti della verità per scongiurare le inevitabili conseguenze?

    Su questo quesito si sviluppa la trama del film, marcando un confine molto (forse troppo) netto tra buoni e cattivi. 

    In uno scenario in cui la terza guerra mondiale è alle porte, un’organizzazione segreta, presieduta dallo spietato Noah (Colin Firth), possiede dei file contenenti le prove dell’esistenza degli extraterrestri. L’ex membro Hugo (Colman Domingo) assolda il genio dell’informatica Daniel (Josh O’Connor) per rubare e divulgare le informazioni dell’archivio. Intanto Margaret (Emily Blunt), una meteorologa del Kansas, si trova coinvolta nella missione dopo aver involontariamente parlato una lingua ignota durante una diretta televisiva. 

    L’atmosfera tensiva, favorita dalle musiche del fedelissimo John Williams, si avverte sin dalle prime sequenze e ci induce a tifare per la fazione positiva e a sperare che il compito venga portato a termine. Un alone di azione e di mistero avvolge l’intera vicenda, anche se lo scopo da raggiungere è la rivelazione. Lo spettatore è infatti onnisciente, deve solo attendere che anche il resto del pianeta acquisisca le sue conoscenze. Sebbene la sceneggiatura (scritta da David Koepp e basata su un soggetto dello stesso Spielberg) risulti piuttosto stratificata, il racconto scorre abbastanza fluidamente. Qualche espediente appare semplicistico, ma l’intrattenimento è assicurato e lo sguardo resta incollato allo schermo per due ore e mezza. 

    La riscoperta dell’empatia

    “Non avere paura di ciò che non conosci” è il mantra sul quale si fonda la storia. Un invito ad abbracciare le diversità, ad abbattere le barriere linguistiche, a entrare nelle menti altrui per comprendere e sanare le paure e le preoccupazioni che le attanagliano.

    Gli alieni vogliono capirci, poiché il fulcro dell’evoluzione è per loro l’empatia, sconosciuta ormai alla nostra società. 

    Gli abitanti della Terra non sono più umani nell’accezione spirituale della parola e per poter andare avanti hanno bisogno di essere visti e accettati malgrado le loro fragilità.

    Margaret sostiene di riuscire a “scivolare” dentro le persone e la sua abilità assume tratti divini agli occhi di chi la incontra, proprio perché nessuno è più interessato a scavare in profondità. Il rapporto con Dio è preponderante nella narrazione e in un’ottica disfattista è più facile credere in un creatore che riporre la propria fiducia negli uomini.  Interessante è il simbolismo legato al crocifisso, visto come elemento di resistenza alle torture degli antagonisti. Ed è proprio Noah in un dialogo con la ex suora Jane (Eve Hewson) a paragonarsi a Santa Chiara, evidenziando una presunzione insita negli individui.  

    In un certo senso il regista americano chiede anche a noi di compiere (ancora una volta) un atto di fede: dobbiamo ritenere vera ogni situazione che si paleserà. Così la cameretta di una bambina con la carta da parati piena di farfalle sarà il punto di partenza verso l’incanto e noi insieme a lei torneremo a casa ammaliati da un cinema in cui l’impossibile diviene sempre possibile.

    Maria Cagnazzo, Redattrice

  • Recensione: amarga navidad – nella mente di un autore

    Recensione: amarga navidad – nella mente di un autore

    L’arte, per quanto nasca dalla fantasia e dall’estro, resta sempre figlia di un evento reale, plasmato dal suo creatore, che lo modella per realizzare un prodotto inventato. Ma quanto si può attingere dalla vita vera senza ripercussioni? Proprio su questo tema si interroga Amarga Navidad di Pedro Almódovar, presentato alla 79ª edizione del Festival di Cannes.

    Il racconto nel racconto

    I titoli di testa fanno la loro comparsa sullo sfondo di Studio Window, il quadro di Asher Liftin che raffigura una finestra. La dichiarazione di intenti è tangibile: sbirceremo attraverso uno o più vetri, da osservatori semi-onniscienti, ma comunque distanti.

    Due vicende si svilupperanno parallelamente, delineando il confine sottile tra la verità e la messa in scena. Raúl (Leonardo Sbaraglia) è un autore acclamato dalla critica che sta ultimando una nuova sceneggiatura prendendo spunto dal mondo che lo circonda. Il suo film racconterà di Elsa (Bárbara Lennie), regista in crisi che nel Natale del 2004 sta elaborando un lutto dedicandosi alla scrittura. Realtà e finzione si inseguono in un gioco di alternanze nel quale lo spettatore potrà assistere sia al processo creativo che al frutto della creazione. 

    Se in Dolor y gloria il cineasta spagnolo parlava di se stesso da un punto di vista intimo, qui ci accompagna direttamente nell’universo delle sue idee, lasciandoci curiosare tra i file del suo computer mentre le parole scorrono, vengono cancellate, ridigitate e corrette.

    Proprio come in 8½ di Fellini, la sensazione di smarrimento dello sceneggiatore costituisce l’idea stessa di narrazione. I diversi piani si intersecano con armonia, muovendosi tra il melodramma e la commedia.

    La riflessione sul cinema si palesa di continuo: emblematica è la sequenza in cui le pellicole di culto sono ironicamente indicate come opere ignorate dal grande pubblico e lodate da pochi invasati. 

    I personaggi tra ribellione e nostalgia

    Attraverso una fotografia dai colori accesi ed eleganti (curata da Pau Esteve Birba) si tracciano i contorni delle donne e degli uomini vicini a Elsa e Raúl. 

    Il rischio dell’autofiction purtroppo è che i personaggi prendano il sopravvento e rifiutino le decisioni degli scrittori. Così gli amici dei protagonisti mettono in atto una ribellione pirandelliana, non accettando i loro ruoli e temendo un epilogo troppo amaro. Il finale però si impone da solo e può rivelarsi una sorpresa anche per chi lo costruisce.

    Affinché una storia possa funzionare è necessario ispirarsi all’esperienza e così i tipi umani descritti divengono materiale da utilizzare proprio grazie a quelle fragilità che vorrebbero nascondere.

    Almódovar medita sulle sue scelte, esplora esistenze tormentate e indugia sulla nostalgia.

    In un momento particolarmente toccante Amaia Romero canta “Las cosas simples las debora el tiempo”, le cose semplici le divora il tempo e dunque bisogna trattenerle su un foglio prima che scompaiano.

    Maria Cagnazzo

    Redattrice

  • Recensione L’isola di Andrea – Il ritorno di Capuano tra realismo e fantasia

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    Antonio Capuano torna al cinema con L’isola di Andrea, presentato fuori concorso alla 82ª Mostra internazionale d’arte cinematografica di Venezia.  L’accento è di nuovo sull’infanzia: questa volta, il regista si addentra nell’universo di una famiglia divisa, in cui il figlio diventa il cardine al quale aggrapparsi per assolvere i propri peccati.

    Anatomia di una separazione

    Marta (Teresa Saponangelo) e Guido (Vinicio Marchioni), dopo la fine del loro matrimonio, hanno deciso di ricorrere alla separazione giudiziale per definire le dinamiche legate all’affido del giovanissimo Andrea (Andrea Migliucci). Attraverso undici colloqui presso il tribunale dei minori lo spettatore deve ricostruire le evoluzioni relazionali che hanno portato all’epilogo di questa unione.

    Capuano ci dà un quadro frammentato di una storia quotidiana e ci invita a raccogliere tutti i pezzi per comprendere l’insieme. Mediante un gioco di sottrazione la scena viene “ripulita” da qualunque artificio: le luci sono naturali e una camera a spalla segue gli attori, li schiaccia, li circonda, ne rivela le anime celate. Spinge nell’interiorità dei personaggi, per analizzare le assenze e le presenze che li hanno resi chi sono.

    I dialoghi si susseguono, le parole sono parte integrante delle immagini. L’intera vicenda potrebbe essere trasposta su un palco di un teatro, se non fosse per il valore dei dettagli dei volti. 

    Bisogna guardare negli occhi i protagonisti, leggere dietro le maschere dei sorrisi irrequieti, scrutare le frasi non dette e nascoste dietro quelle pronunciate.

    La ricerca della realtà si traduce anche nella quasi totale assenza di musica, talvolta compensata dai brani che capitano inaspettatamente nelle stanze o per le strade, cantati o ballati senza pensarci.  Nulla è lasciato al caso, nemmeno questi fortuiti momenti musicali: Guido, ad esempio, intona guardandosi allo specchio ‘A canzuncella degli Alunni del sole, il cui testo aderisce perfettamente alla situazione che sta vivendo. 

    Ottenere la custodia del bambino rappresenta per gli adulti un modo per giustificare le proprie inadempienze, ma in questo flusso di chiacchiere e di scuse il punto di vista più interessante è proprio quello di Andrea. 

    Un gioco da bambini

    Il bimbo appare distratto e poco collaborativo, ma le sue battute lo rendono probabilmente l’unico giudizioso del gruppo.

    “Sono un animale triste, sempre con le scarpe ai piedi” dice al pappagallo dello zoo, manifestando un desiderio di libertà puro e naturale nella condizione di costrizione in cui riversa.

    Grazie a lui la dimensione del reale, tanto dominante, si lascia scalfire dall’immaginazione, dai disegni animati e dai ricordi colorati.

    Uno scenario semplice si carica di significati che stabiliscono dei contorni molto più complessi. Rintanarsi in un’isola di fantasia serve a fuggire dalle paure della vita ordinaria. Trovare quel luogo è facile, basta crederci e “poi la strada la trovi da te”.

    Il cineasta napoletano ha ancora qualcosa da raccontare e ci dimostra che non è tanto importante l’oggetto del racconto, ma quanto riusciamo a sentirlo.

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    Maria Cagnazzo,
    Redattrice.

  • Recensione Reflection in a dead diamond – Un’allucinazione tra le immagini

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    Dopo Amer e Lacrime di sangue, Hélène Cattet e Bruno Forzani tornano a esplorare il cinema di genere italiano con Reflection in a dead diamond, uno spy movie psichedelico che si insinua nella percezione dello spettatore.

    Presentato all’ultima Berlinale, il lungometraggio si allontana totalmente dalle canoniche regole della narrazione.

    Non esiste un racconto ordinato, la trama non è rilevante, quel che conta sono le immagini, che vengono riprodotte una dietro l’altra, senza sosta, senza permettere al cervello di classificare le informazioni.

    L’ambientazione dalla quale partiamo è un albergo della Costa Azzurra, in cui l’ormai pensionata spia John Diman (Fabio Testi) soggiorna da tempo sorseggiando drink e osservando il mare. L’interesse per una vicina di stanza scatena in lui le reminiscenze di un passato turbolento, tra diamanti rubati, fughe e combattimenti.

    Questo è però solo un punto di inizio, un’idea che si sviluppa in tanti frammenti attraverso i quali si entra e si esce da una memoria disordinata e talvolta ambigua.

    Tutto ci riporta ai film italiani di spionaggio degli anni’60, a partire dai titoli di testa con un font in grassetto rosso fuoco su uno sfondo nero. I colori della fotografia sono saturi, vividi, quasi appaiono fuori dallo schermo.

    Attraverso degli zoom improvvisi scopriamo i dettagli degli occhi dell’agente segreto, pronti a rivivere altri momenti e a intrecciarsi con il suo stesso sguardo da giovane (Yannick Renier). Spesso la camera si inclina, ricorrendo all’angolo olandese, come a sottolineare lo stato di alterazione psicologica di Diman.

    Tra dissolvenze e split screen avviene una manifestazione concreta del visibile. Non dobbiamo capire, dobbiamo guardare, addentrarci nell’illusione, privilegiare la vista e l’udito, lasciarci trascinare da una sorta di allucinazione che continua a esistere per 87 minuti.

    Non riusciremo mai a delineare dei contorni tangibili, ad agguantare una consapevolezza.

    In questo delirio dei sensi ragionato non mancano gli omaggi a Diabolik di Mario Bava, qui rivisitato in versione femminile con la temutissima e sfuggente Serpentik, e all’universo del terrore di Dario Argento. Si passa dall’erotismo, alla violenza fino al body horror, tutto condito da effetti e canzoni retrò (una fra tante 24.000 baci di Celentano).

    Testi risulta una presenza esteticamente giusta in questa cornice. Ricorda (o gli piacerebbe ricordare) lo Sean Connery di Goldfinger e con un completo bianco si muove tra pochissime parole per i corridoi dell’hotel tenendo tra le mani una coppetta da cocktail.

    Protagonista a parte, i personaggi sono sfuggenti, non è importante approfondirli, basti pensare alla misteriosa signora interpretata da Maria de Medeiros, il cui volto si presta perfettamente a questo gioco elusivo.

    I registi mettono in scena un turbinio di sequenze disturbanti, trasportandoci in un quadro di Caravaggio, in un fumetto, in un fotoromanzo e addirittura su un set cinematografico, ma mai aiutandoci a distinguere il vero dal falso, la realtà dalla finzione.

    Reflection in a dead diamond è sicuramente un viaggio mentale, in cui le suggestioni si impongono un fotogramma dopo l’altro.

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  • Ritorno al futuro compie 40 anni – La nostalgia di un futuro che è passato

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    La prima volta in cui sono incappata in Ritorno al futuro ero una bambina, ho acceso la tv nell’esatto istante in cui Doc (Christopher Lloyd) è sospeso all’enorme orologio della piazza e tenta disperatamente di riagganciare dei cavi attraverso i quali passerà la corrente del fulmine in arrivo. Si tratta praticamente della fine, del punto di spannung che precede la risoluzione dei fatti.

    Pur non conoscendo gli avvenimenti accaduti fino a lì, mi sono incollata per i restanti venti minuti davanti a quello schermo distorto con dietro il tubo catodico, ho alzato il volume e ho tifato con passione per quello strano tipo con i capelli arruffati e i piedi penzolanti per aria. Non sapevo quale fosse la causa che stavo sostenendo, ero solo ammaliata, caduta in un incantesimo che dura ancora e di cui ancora non distinguo chiaramente le motivazioni.

    Sono trascorsi 40 anni dalla prima proiezione del film negli Stati Uniti, ne sono passati parecchi anche dal mio ricordo, eppure Ritorno al futuro continua a mantenere il suo status di cult transgenerazionale.

    Cosa può accadere a uno sceneggiatore che trova nella soffitta della casa dei genitori l’annuario del liceo di suo padre? Bob Gale si immaginò come sarebbe stato incontrarlo a scuola da coetaneo, raccontò la sua idea a Robert Zemeckis e ne venne fuori una sceneggiatura che avrebbe rinnovato per sempre il cinema di fantascienza.

    Il soggetto piacque a Steven Spielberg che si propose come produttore esecutivo, purtroppo però fu rifiutato dai vari studios, in quanto non ritenuto in linea con le commedie di quel momento, molto più volgari ed esplicite. Dopo una lunga trafila la Universal accettò il progetto e iniziarono le riprese, che si conclusero a pochi mesi dall’approdo nelle sale.

    I guadagni furono esorbitanti e nacque un franchise che oltre ai tre lungometraggi comprende una serie animata, un fumetto, dei videogiochi, un musical, un corto, un documentario e delle giostre per parchi divertimento.

    Zemeckis e Gale misero in scena un 1985 fatto di aerobica, di lavori ben retribuiti, di strade sporche, di film a luci rosse e di marchi sui vestiti. Un’America del benessere obbligatorio e del fallimento inevitabile, che relega il povero George (Crispin Glover) in un angolo e vede il malefico Biff (Thomas F. Wilson) come oppressore vincente.  Perfino quando Marty (Michael J. Fox) corregge il corso della storia i ruoli si capovolgono, ma il classismo resta.

    Tornare indietro comporta invece ritrovarsi in un’ambientazione completamente diversa, in cui regna l’ordine, le pettinature sono cotonate, i televisori sono elettrodomestici rari e Ronald Reagan è un semplice attore. Certo, combinare Johnny B. Goode di Chuck Berry con un assolo heavy metal non è ancora una buona mossa, ma non si può avere tutto dalla vita!

    Avviene una focalizzazione sul concetto di mutamento in ogni sua declinazione, i dettagli sono fondamentali e fungono da anello di congiunzione tra i due mondi: ad esempio viene scelta la Pepsi poiché a differenza della Coca Cola aveva variato il suo logo. Ma il vero filo rosso che unisce i decenni è sicuramente la DeLorean, che con le sue iconiche portiere ad ali di gabbiano ha un aspetto avveniristico a prescindere e riesce senza alcuno sforzo ad aumentare la nostra sospensione dell’incredulità (addirittura nel ’55 la confondono con una navicella spaziale).

    Siamo testimoni della metamorfosi di una piccola cittadina, immagine riflessa di un Paese che cambia e si lascia cambiare. Il tempo in Ritorno al futuro è mutevole ed è conseguenza delle azioni di chi lo vive. Le vicende di un paesino diventano gesta eroiche, in quanto gli errori producono delle ripercussioni da sistemare urgentemente. Ad arricchire questo sfondo di quotidianità è sicuramente anche la colonna sonora di Alan Silvestri, che dona tensione ed epicità alle peripezie di un ragazzino.

    La nostalgia degli anni ‘50 è un tema ricorrente in quel periodo, basti pensare a Grease o a Happy days. D’altronde il desiderio di vivere un passato che non ci appartiene alberga da sempre in tutti noi, un passato in cui possiamo immaginare di sentirci più protagonisti. E così il giovane McFly desta subito interesse nel 1955, è al centro dell’attenzione e proprio per questa ragione modifica inavvertitamente il susseguirsi degli eventi.

    Fox rappresenta l’emblema del teenager della prima vera epoca consumista: giubbotto smanicato, sneakers e skate. Il suo personaggio genera un processo identificativo nello spettatore coevo che è da annoverare tra i motivi del grande successo della trilogia.

    I personaggi divengono paradigmatici, un simbolo da emulare immutato, nonostante le continue trasformazioni della società. Gli oggetti restano gli ultimi appigli di una generazione ancorata al passato e così Nike propone nel 2016 le scarpe auto-allaccianti del secondo capitolo e Eastpak nel 2023 rimette in commercio l’indimenticabile zainetto bordeaux.

    La malinconia è rimasta, ma si è evoluta. Negli anni ‘80 volgeva lo sguardo ai ‘50, oggi invece abbiamo superato il futuristico 2015 e guardiamo al presente di Marty con pensieri nostalgici, rimpiangiamo il nostro walkman, le videocassette, le cabine telefoniche e forse speriamo che una DeLorean si palesi e ci riporti alla nostra infanzia.

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    Maria Cagnazzo,
    Redattrice.

  • Recensione Tre amiche – Il mondo delle relazioni tra verità e bugie

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    Emmanuel Mouret torna a esplorare il mondo delle relazioni con Tre amiche, presentato in concorso alla 81ª Mostra internazionale d’arte cinematografica di Venezia.

    Alice (Camille Cottin), Rebecca (Sara Forestier) e Joan (India Hair), tre insegnati lionesi molto legate, si trovano ad affrontare l’intricato universo dei sentimenti: la prima è sposata con Éric (Grégoire Ludig), ma non lo ha mai amato; la seconda sta con un uomo già impegnato; la terza ha deciso di lasciare suo marito Victor (Vincent Macaigne). Proprio da questa rottura scaturiranno le vicissitudini che si svolgeranno nell’arco narrativo.

    Le protagoniste sono molto differenti tra loro e hanno un modo diverso di vivere i legami. L’intero racconto si posa sul carattere dissimile delle donne, che si consigliano a vicenda trovandosi spesso in situazioni piuttosto ambigue. 

    Molti rapporti si basano sulla menzogna, veicolo di cui il film si serve per muovere le figure di questa storia. Nessuno è mai completamente sincero e la bugia serpeggia tra tutti, pronta a rompere un equilibrio sempre troppo precario.

    La sceneggiatura, scritta dallo stesso regista insieme a Carmen Leroi, poggia le sue basi su un gioco del non detto, su una gara a nascondere verità troppo scomode. 

    Una scrittura semplice ed elegante riesce a donarci una visione di insieme che si intreccia e si scioglie continuamente, ripetendosi e aggrovigliandosi senza sosta. 

    Attraverso una comicità dolceamara scopriamo che l’amore è fragile, incerto e occasionalmente imprevisto.

    È interessante l’utilizzo della voce narrante, Macaigne è una presenza-assenza costante nel lungometraggio, racconta i fatti da interno e simultaneamente da esterno, spostandosi nel tempo e rendendo le scene molto più animate. 

    Victor è un osservatore sia silente che parlante, si mette in discussione in quanto persona che darà vita agli eventi. Bisogna guardare da fuori per raggiungere delle consapevolezze che dentro erano impossibili da afferrare, ma a volte la soluzione arriva tardi, quando non può più essere d’aiuto.

    Mouret ci propone delle coppie leggere, talvolta superficiali, che non vogliono saperne della profondità, ma desiderano adagiarsi su quella “felice complessità” di cui parlava il libro del vicino Thomas (Damien Bonnard), senza alcuna intenzione di “aggiungere dolore al dolore”. Ogni tanto però spunta il senso di colpa, che inibisce e crea un freno immaginario difficile da sbloccare.

    Una regia dinamica ci fa entrare nella complicata esistenza di queste quarantenni confuse attraverso frequenti zoom sui loro volti, sequenze ambientate in case piene di oggetti che le rappresentano e una città che diventa parte integrante del tutto, come sottolinea il voice over all’inizio.

    I ponti, i palazzi, i musei e i parchi di Lione si fanno spazio nelle inquadrature, fungendo non solo da sfondo, ma da fulcro essenziale degli avvenimenti. 

    Una luce naturale illumina le strade di un posto raffinato e poetico, che si adatta perfettamente a questa trama.

    Tre amiche ci insegna che gli incontri amorosi si impongono, non lasciano scelta, come se ognuno vi inciampasse senza volerlo. Gli errori si compiono in quasi tutti i passi, ma sono utili per imparare, o forse no.

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hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" width_medium="" width_small="" width="" min_width_medium="" min_width_small="" min_width="" max_width_medium="" max_width_small="" max_width="" margin_top="-12" 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="" logics=""]

    Maria Cagnazzo,
    Redattrice.

  • Recensione Volveréis – Una storia d’amore quasi classica – Il cinema al servizio di una separazione

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    Nel 1843 Søren Kierkegaard sosteneva che “l’unico amore felice è quello della ripetizione. Al pari dell’altro non conosce l’inquietudine della speranza, la sfida angosciosa della scoperta, ma in più gli è ignota la mestizia del ricordo – ha la sicurezza beata dell’istante”.  Su questo concetto insiste Volveréis – Una storia d’amore quasi classica di Jonás Trueba, presentato al Festival di Cannes 2024 e premiato alla Quinzaine des Cinéastes.

    In una Madrid di fine estate la regista Ale (Itasaso Arana) e l’attore Alex (Vito Sanz) hanno deciso di lasciarsi dopo 15 anni di relazione, ma affrontano la rottura con serenità e pensano di celebrarla con una grande festa, che si terrà nell’ultimo giorno della bella stagione, il periodo più nostalgico dell’anno. Su tali premesse si basa un film apparentemente semplice che invece indaga le connessioni umane adoperando il cinema stesso come mezzo.

    L’elemento meta-cinematografico è preponderante nella vicenda: stiamo assistendo a eventi reali o alla messa in scena della macchina da presa? Continuiamo a porci questa domanda comprendendo però che non c’è una linea di demarcazione tra la verità raccontata e quella accaduta, il confine tra la sala e la vita è decisamente labile, i due mondi non possono essere scissi.

    In una società complessa in continuo mutamento anche i rapporti si evolvono e così Trueba ci trascina in questa fine mai amara, sempre vestita di quiete e pace. Siamo di fronte a una coppia perfetta e simbiotica, mai sapremo i motivi che li hanno spinti all’allontanamento. I loro amici li ritenevano un modello da seguire, un esempio che adesso non ha più ragion d’essere.

    Perfino lo spettatore, accolto in una casa piena di libri e di memorie, osserva una quotidianità che sembra non avere pretesti per rompersi.

    La sceneggiatura è colma di dialoghi che non danno mai una svolta alla trama, ma che sono essenziali per approfondire i personaggi. La ripetitività è fondamentale: i due continuano a ribadire di stare bene, quasi come un mantra, quasi per convincersi che sia vero.

    Non avvengono trasformazioni, non vi sono grandi cambiamenti, sono le conversazioni e i fatti ad alimentare il motore del racconto. Non si vuole insegnare nulla e non c’è alcuna intenzione di sorprendere, l’obiettivo è solo quello di descrivere una situazione plausibile.

    Ripensare al passato, vivere il presente o elevarsi al futuro? Queste opzioni si pongono dinanzi a loro continuamente, anche attraverso i tarocchi di Bergman (menzionato in più occasioni).

    Le carte aiutano a immaginare quello che sarà, a distinguere un domani in cui non esisterà più un “noi”, in cui le certezze conservate tra gli scaffali colmi di oggetti si posizioneranno in grossi scatoloni, pronte a trasformarsi, a sciogliere due facce identiche (non è un caso la scelta dei nomi dei protagonisti) per renderle diverse e indipendenti.

    La sequenza con Fernando Trueba (padre di Jonás nella realtà e di Ale nella finzione) è probabilmente la più significativa, in quanto si esplicita il fulcro sul quale posa il lungometraggio. Viene qui citato Stanely Cavell, il filosofo statunitense secondo il quale l’autenticità di un matrimonio è verificabile nel momento in cui risulta impossibile divorziare.

    L’idea della possibilità di un ritorno si ripropone in tutto l’arco narrativo, dal titolo alle continue affermazioni fiduciose di conoscenti e parenti. Tornare ancora, ripercorrere gli stessi passi è utile? Può essere necessario? Forse lo scopriremo nel finale.

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filter_blur_hover="0" transform_type="regular" transform_hover_element="self" transform_scale_x="1" transform_scale_y="1" transform_translate_x="0" transform_translate_y="0" transform_rotate="0" transform_skew_x="0" transform_skew_y="0" transform_origin="" transform_scale_x_hover="1" transform_scale_y_hover="1" transform_translate_x_hover="0" transform_translate_y_hover="0" transform_rotate_hover="0" transform_skew_x_hover="0" transform_skew_y_hover="0" transition_duration="300" transition_easing="ease" transition_custom_easing="" animation_type="" animation_direction="left" animation_color="" animation_speed="0.3" animation_delay="0" animation_offset="" last="true" border_position="all" first="false"][fusion_text columns="" column_min_width="" column_spacing="" rule_style="" rule_size="" rule_color="" hue="" saturation="" lightness="" alpha="" user_select="" awb-switch-editor-focus="" content_alignment_medium="" content_alignment_small="" content_alignment="" 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    Maria Cagnazzo,
    Redattrice.

  • Recensione Paternal Leave – La paura di crescere e la responsabilità emotiva

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    Spesso si è in grado di raggiungere delle consapevolezze solo ponendosi delle domande e cercando le risposte necessarie. Comprendere i quesiti e selezionarli è già un atto coscienzioso, ottenere la soluzione a ognuno di essi richiede sicuramente uno sforzo più complesso. Diventare grandi vuol dire anche compiere piccoli atti temerari e la protagonista di Paternal leave, primo film da regista di Alissa Jung, si dimostra coraggiosa e risoluta sin dalle prime sequenze.

    Il lungometraggio, presentato alla Berlinale 2025 nella sezione Generation 14plus, segue le vicende di Leo (Juli Grabenhenrich), adolescente tedesca che si reca in treno a Marina Romea (frazione di Ravenna) per incontrare il padre Paolo (Luca Marinelli), di cui fino a poco prima non conosceva l’identità. L’uomo gestisce un baretto sulla spiaggia e cerca di trovare il suo equilibrio dedicandosi al surf e alla piccola Emilia, figlia avuta con una ex compagna. 

    La sceneggiatura, ricolma di emozioni sia esplicitate che celate, non ha bisogno di dare spiegazioni, ci invita a leggere tra le righe vuote dei silenzi e dei gesti limitati, tra le assenze che non potranno mai tramutarsi in presenze e le parole che divengono fonte di liberazione. Capire qualcuno attraverso un’intervista scritta su un quadernino non è impresa semplice, ma è il modo di Leo di tentare un approccio, di giustificare i difetti del suo papà. Lei getta l’amo, sperando di pescare un riscontro positivo in una distesa di mancanze e rifiuti.

    Due sconosciuti sono qui inevitabilmente collegati da un filo biologico che non può essere sottovalutato. La ragazza probabilmente immagina di imbattersi in un quarantenne consapevole e si ritrova invece di fronte a un immaturo, incapace di assumersi delle responsabilità, in perenne conflitto con se stesso e con la propria crescita personale. La funzione formativa di questo racconto si riflette sia sulla giovane che sull’adulto, meno avveduto e determinato di lei.

    Il loro rapporto diviene un’arma a doppio taglio, un’incognita troppo difficile da calcolare, che potrebbe aggiungere e al contempo sottrarre. 

    Il linguaggio utilizzato è un espediente azzeccato per sottolineare l’incomunicabilità, data sicuramente dalla poca familiarità tra i due, ma ricalcata dalla lingua di mezzo (l’inglese) che utilizzano per parlare. In alcune scene più intense, infatti, il tedesco per lei e l’italiano per lui appaiono fondamentali per riuscire a esprimersi per davvero. 

    La recitazione di Marinelli è cosa nota e non si smentisce in questa occasione, ma l’interpretazione di Grabenhenrich è il motore essenziale della narrazione. La naturalezza e la carica emotiva dell’attrice riescono a conferire autenticità alla storia. Credibile risulta anche il personaggio di Edoardo (Arturo Gabbriellini), fattorino del minimarket del paesino, che vede nella nuova arrivata una ventata di freschezza in una realtà di provincia talvolta imbrigliata nelle convenzioni sociali. 

    Il paesaggio, caratterizzato dalla desolazione delle spiagge invernali, non è uno sfondo ininfluente, ma accompagna i movimenti e i dialoghi: le onde ostinate e gelate, sempre presenti, prendono e donano, proprio come accade nelle relazioni tra le persone. Per tale ragione la fotografia (curata da Carolina Steinbrecher) tende a far prevalere i colori freddi, che si frappongono tra le frasi non dette.

    Paternal leave tratta di rinnovamento, di maturazione e si muove con grande delicatezza lungo una strada già percorsa in precedenza da altri, trovando però la sua originalità. Trasformarsi comporta delle complicazioni, ma qualche volta provarci non costa nulla e spesso i ruoli non sono così definiti come pensiamo. Sicuramente, come ci suggeriscono le strofe di Giorgio Poi nei titoli di coda, può succedere che “un respiro diverso disperde la polvere e dal centro del petto cominci a rinascere”.

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filter_blur_hover="0" transform_type="regular" transform_hover_element="self" transform_scale_x="1" transform_scale_y="1" transform_translate_x="0" transform_translate_y="0" transform_rotate="0" transform_skew_x="0" transform_skew_y="0" transform_origin="" transform_scale_x_hover="1" transform_scale_y_hover="1" transform_translate_x_hover="0" transform_translate_y_hover="0" transform_rotate_hover="0" transform_skew_x_hover="0" transform_skew_y_hover="0" transition_duration="300" transition_easing="ease" transition_custom_easing="" animation_type="" animation_direction="left" animation_color="" animation_speed="0.3" animation_delay="0" animation_offset="" last="true" border_position="all" first="false"][fusion_text columns="" column_min_width="" column_spacing="" rule_style="" rule_size="" rule_color="" hue="" saturation="" lightness="" alpha="" user_select="" awb-switch-editor-focus="" content_alignment_medium="" content_alignment_small="" content_alignment="" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" width_medium="" width_small="" width="" min_width_medium="" min_width_small="" min_width="" max_width_medium="" max_width_small="" max_width="" margin_top="-12" 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="" logics=""]

    Maria Cagnazzo,
    Redattrice.

  • Recensione Ho visto un re – Quando la realtà incontra la fantasia

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    Nei romanzi di Salgari si narrano prodigiose imprese in luoghi lontani, posti che lo scrittore non aveva mai visitato e che si figurò nel dettaglio solo attraverso carta e penna. D’altronde la fantasia spesso si muove di pari passo con la realtà e permette a chi ne è munito di sfuggire alle insoddisfazioni del mondo vero.  Da questo presupposto parte Ho visto un re, ultimo film di Giorgia Farina, ambientato durante la campagna d’Etiopia. Per quanto i fatti narrati risultino improbabili, si ispirano a una vicenda realmente accaduta al giornalista Nino Longobardi.

    Nel 1936 Emilio (Marco Fiore) vive nel paesino di Roccasecca insieme al padre Marcello (Edoardo Pesce), podestà fascista, alla madre Regina (Sara Serraiocco), artista annoiata e infelice e allo zio Fausto (Lino Musella), affascinante figura che prova a fargli conoscere la cultura al di là della propaganda. Le sue giornate sono scandite dalle lezioni con gli altri balilla, tenute dalla volontaria Gemma (Blu Yoshimi) e dai giochi ispirati alle letture di episodi avventurosi. Quando il ras etiope Abraham (Gabriel Gougsa) viene confinato per ragioni politiche nella voliera del suo giardino, il bimbo si convince che il nuovo arrivato sia il suo beniamino Sandokan e decide di aiutarlo. 

    Farina sceglie di impostare la narrazione in maniera fiabesca e lo suggerisce sin dalla prima sequenza, ricorrendo all’animazione per mostrarci gli ambienti nei quali il protagonista agisce nei suoi momenti di svago. Assisteremo a una storia generata dagli occhi di un bambino, che ci guiderà negli spazi in cui si rifugia per nascondersi dalle sue paure. 

    Concettualmente l’idea risulta molto stimolante e diventa una potenziale occasione per menzionare con un punto di vista diverso vicende storiche caratterizzate da abomini e soprusi, purtroppo però il problema si riscontra nello sviluppo stesso del racconto. La volontà di renderla una favola fruibile anche dai più piccoli si traduce in azioni eccessivamente semplicistiche. 

    L’unica evoluzione alla quale assistiamo è quella di Gemma, che avviene però in modo troppo didascalico. 

    I possibili approfondimenti di trama non si verificano mai e il lungometraggio è sempre sospeso sulla superficie dell’acqua, senza mai esplorare gli abissi.

    È comunque interessante la caratterizzazione dei personaggi negativi, volutamente presentati come macchiette. Questo intento si riflette anche nella regia, che utilizza inquadrature dal basso e dall’alto per ridicolizzare l’enfasi dei membri del regime. In questo senso il federale Trocca, (Gaetano Bruno) è probabilmente il più centrato e rispecchia la crudeltà e le incoerenze di quel periodo storico.

    L’interpretazione meglio riuscita è invece quella di Musella, che conferisce al suo Fausto lo spirito combattivo necessario e induce lo spettatore a tifare per lui e per la realizzazione dei suoi piani.

    Nonostante i difetti, Ho visto un re è un film godibile, che ha sicuramente il pregio di sfoderare l’immaginazione come arma per resistere alle sopraffazioni. Emilio paragona le gesta di Sandokan a quelle della sua vita e questo continuo parallelismo letterario gli permette di mostrare coraggio nelle situazioni difficili.

    I libri si dimostrano gli aiutanti buoni, pronti ad aprire le menti per accompagnarle in incredibili viaggi. In un tempo in cui a nessuno importa della verità, in cui è essenziale “mascherarsi bene”, la finzione diventa un riparo, un luogo di tolleranza nel quale le vedute sono infinite ed esistono innumerevoli sfumature da intraprendere. Non resta che affidarsi ai bambini, capaci di scorgere all’orizzonte l’arrivo di un valoroso aiutante. 

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gradient_start_color="" gradient_end_color="" gradient_start_position="0" gradient_end_position="100" gradient_type="linear" radial_direction="center center" linear_angle="180" background_color="" background_image="" lazy_load="avada" skip_lazy_load="" background_position="left top" background_repeat="no-repeat" background_blend_mode="none" render_logics="" sticky="off" sticky_devices="small-visibility,medium-visibility,large-visibility" sticky_offset="" absolute="off" absolute_top="" absolute_right="" absolute_bottom="" absolute_left="" filter_type="regular" filter_hover_element="self" filter_hue="0" filter_saturation="100" filter_brightness="100" filter_contrast="100" filter_invert="0" filter_sepia="0" filter_opacity="100" filter_blur="0" filter_hue_hover="0" filter_saturation_hover="100" filter_brightness_hover="100" filter_contrast_hover="100" filter_invert_hover="0" filter_sepia_hover="0" filter_opacity_hover="100" filter_blur_hover="0" transform_type="regular" transform_hover_element="self" transform_scale_x="1" transform_scale_y="1" transform_translate_x="0" transform_translate_y="0" transform_rotate="0" transform_skew_x="0" transform_skew_y="0" transform_origin="" transform_scale_x_hover="1" transform_scale_y_hover="1" transform_translate_x_hover="0" transform_translate_y_hover="0" transform_rotate_hover="0" transform_skew_x_hover="0" transform_skew_y_hover="0" transition_duration="300" transition_easing="ease" transition_custom_easing="" animation_type="" animation_direction="left" animation_color="" animation_speed="0.3" animation_delay="0" animation_offset="" last="true" border_position="all" first="false"][fusion_text columns="" column_min_width="" column_spacing="" rule_style="" rule_size="" rule_color="" hue="" saturation="" lightness="" alpha="" user_select="" awb-switch-editor-focus="" content_alignment_medium="" content_alignment_small="" content_alignment="" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" width_medium="" width_small="" width="" min_width_medium="" min_width_small="" min_width="" max_width_medium="" max_width_small="" max_width="" margin_top="-12" 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="" logics=""]

    Maria Cagnazzo,
    Redattrice.

  • Recensione Sotto le foglie – Un mistero da interpretare

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    L’ambivalenza dei funghi, dovuta alla loro possibile natura velenosa, li ha spesso avvolti in un alone di mistero riscontrabile sin dalla mitologia. Questo alimento diventa un espediente fondamentale in Sotto le foglie, il nuovo film di François Ozon.

    Il ventitreesimo lungometraggio del cineasta francese si fa metafora di tale enigmaticità e si muove tra un momento letale e un limbo innocuo.

    Michelle (Hélène Vincent) è un’anziana signora che vive in un piccolo villaggio della Borgogna, la sua esistenza è scandita dalle messe, dai frutti della campagna e dalle passeggiate con la sua migliore amica Marie-Claude (Josiane Balasko). La figlia Valérie (Ludivine Sagnier) va a trovarla per le vacanze, ma dopo un’intossicazione causata proprio dai miceti, la accusa di averla avvelenata e la minaccia di non farle più vedere il nipotino Lucas (Garlan Erlos). Una serie di intrecci porterà a delle evoluzioni inaspettate.

    Quello che potrebbe apparire un giallo si rivela un vero e proprio melò. Il regista si prende i suoi tempi per mostrarci la profondità dei personaggi e disvela, scena dopo scena, nuovi elementi che ci aiutano a comprendere attitudini e parole. La protagonista sembra una simpatica vecchietta che prepara torte e guarda il mondo con positività, ma in realtà cela una grande solitudine che manifesta nei piccoli gesti del quotidiano.

    Michelle e la sua compagna di avventure sono costantemente inseguite da un senso di colpa, un peso da portarsi dietro. Il passato diventa motivazione persistente del presente, pronto a bussare alla porta anche sotto le sembianze di uno spettro, per sottolineare insistentemente la presenza di un peccato ormai commesso (emblematica è anche la prima sequenza in cui il prete racconta la parabola di Maria Maddalena).

    Il ruolo delle madri diventa essenziale e si traduce nella paura di aver sbagliato, nella consapevolezza di aver generato sentimenti negativi e nella difficoltà di dimostrare un avvenuto cambiamento.

    Tutti mutano forma, reinventano la propria identità e si concedono l’opportunità di ricominciare daccapo. Un esempio è sicuramente Vincent (Pierre Lottin), il figlio ex galeotto di Marie Claude, che da pregiudicato diventa un barista accolto sotto l’ala protettiva di Michelle.

    Ogni opinione che elaboriamo viene decostruita, ogni tassello che crediamo di aver inserito correttamente perde la sua validità e rimette in discussione le nostre credenze. Il suggerimento velato è chiaro: abbandonare i preconcetti e non giungere a conclusioni affrettate.

    Un’aura di ambiguità caratterizza tutte le figure della storia, per cui lo spettatore è chiamato a interpretare le azioni e a immaginare lo svolgimento dei fatti reali. Ozon non giudica nessuno, ci mette di fronte all’umanità e alle possibili sfaccettature che la contraddistinguono.

    Assistiamo alla possibilità di un delitto, che non verrà mai accertata nel corso della vicenda. Più che scoprire l’eventuale assassino, siamo chiamati a indagare l’animo umano con le sue debolezze e vulnerabilità. Non vi sono semplificazioni e ogni svolta narrativa arriva con una disinvoltura che produce un disorientamento.

    La sceneggiatura ci esorta a leggere tra le righe non scritte, a guardare e ascoltare prendendoci il tempo necessario per elaborare le nostre deduzioni. Non dobbiamo risolvere alcun caso, possiamo invece riflettere sulla fragilità e sul confine labile che divide il bene dal male.

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    Maria Cagnazzo,
    Redattrice.