FRAMES CINEMA

Tag: michael fassbender

  • Recensione Black Bag – James Bond secondo Steven Soderbergh

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    Uscito un po’ in sordina il 30 aprile 2025, lo spy drama Black Bag – doppio gioco è l’ultima fatica di Steven Soderbergh con protagonisti Cate Blanchett, Michael Fassbender, Marisa Abela, Tom Burke, Naomie Harris, Regé-Jean Page e Pierce Brosnan. 

    La storia ruota attorno a George Woodhouse (Fassbender), leggendario agente dell’intelligence britannica mago del poligrafo, incaricato di indagare su una talpa presente nella sua organizzazione. Peccato che tra i sospettati ci sia pure la sua amatissima moglie Kathryn (Blanchett), che lo costringe a scegliere tra fedeltà al matrimonio o alla patria.

    Tutti vogliono essere James Bond 

    Dopo No Time to Die (2021) il futuro di James Bond è rimasto incerto, ma è proprio la latitanza dell’agente segreto più famoso del grande schermo ad aver involontariamente incentivato la proliferazione di film spy di dubbio gusto, che hanno invaso sale cinematografiche e piattaforme streaming con prodotti di altalenante qualità per riempire quel vuoto. 

    In questo desolante panorama per gli appassionati del thriller di spionaggio, ci pensa sua maestà Steven Soderbergh a mantenere alta la bandiera con un tesissimo spy drama di qualità altissima. Ma il confronto con 007 è inevitabile, e persino Black Bag continua in qualche modo a tenerlo come punto di riferimento: ciò vale soprattutto per il cast, formato da due potenziali successori di Daniel Craig (Fassbender e Page), un personaggio ricorrente dell’ultimo ciclo (Naomie Harris) e lo stesso ex-007 Pierce Brosnan.

    È il cinismo generale a mettere un po’ più in crisi i valori di James Bond: laddove il personaggio reso famoso da Sean Connery è iperbolico e popolare per via della sua propensione per sesso e alcolici, Black Bag torna coi piedi per terra, rigetta lo status positivo delle dipendenze da inibitori, smaschera i traditori patologici ed evidenzia molto di più lo stato nervoso e nevrotico di individui che per vivere mentono in continuazione, al punto da aver anestetizzato la capacità di essere sinceri. 

    Mr. & Mrs. Smith

    Gli unici a salvarsi la faccia in Black Bag sono i Woodhouse, George e Kathryn, innamorati l’uno dell’altra e incapaci di separarsi. È la loro fedeltà reciproca ad essere invidiata e osteggiata in ufficio, sia dalle altre coppie infelici che dai superiori che lo ritengono il loro punto debole. Ed è proprio attraverso questa falla che verranno infatti insinuati i dubbi. 

    Benché Black Bag sia molto più godibile e riuscito, l’idea alla base è la medesima del popolare Mr. & Mrs. Smith che nel 2005 creò la coppia Brangelina: due agenti segreti in crisi di coppia che vengono messi uno contro l’altro anche sul lavoro, ma sarà proprio la risoluzione della rivalità professionale a risanare la loro relazione. E la cosa straordinaria è che tutta la sceneggiatura riesce a lavorare costantemente di sottotesto, parlandoci della coppia e allo stesso tempo della falla nell’intelligence.

    Lo sceneggiatore è David Koepp, veterano del blockbuster hollywoodiano (autore del primo Spiderman di Sam Raimi e della trilogia originale di Jurassic Park) che di recente ha lavorato spesso con Soderbergh e qui gioca diverse carte vincenti, dosando perfettamente le informazioni e lavorando di simboli ricorrenti: uno tra tutti la pesca, sia letterale di un pesce che verrà servito a cena (i pasti sono snodi fondamentali nel film) oppure la ricerca della talpa, pesce grosso o piccolo che sia. 

    Missione compiuta 

    Impeccabile la recitazione di tutti gli interpreti: Michael Fassbender e Cate Blanchett, gelidi, incarnano alla perfezione la coppia protagonista, sempre elegantissimi ed inappuntabili anche nel vestiario, assai curato per trasmettere trasparenza soprattutto per il personaggio di George, che detesta il tradimento. Tom Burke, attore troppo sottovalutato, è qui nei panni di un anti-007, consapevole e tormentato per via della dipendenza da sesso e alcol, mentre il ruolo di Pierce Brosnan, in realtà piuttosto piccolo nonostante il massiccio utilizzo da parte del marketing, si regge tutto sul casting di un attore che ha fatto la storia di questo genere. L’unica nota stonata dell’orchestra rimane quello stoccafisso di Regé-Jean Page, sempre più bello che bravo.

    Ma se l’eccellente cast recita un’ottima sceneggiatura, di certo non si può non riconoscere la direzione di Soderbergh, un regista che ha segnato gli ultimi 30 anni con le sue sperimentazioni di generi e tecniche. La prova dello spy è assolutamente superata, strizzando di tanto in tanto l’occhio alla sua stessa trilogia di Ocean’s.

    Come al solito, Soderbergh firma anche fotografia e montaggio del film con gli pseudonimi di Peter Andrews e Mary Ann Bernard: un autore completo, sapiente e mai banale, che ci getta all’interno della storia con un lungo tracking shot sulle spalle del protagonista come fosse un pedinamento, che illumina gli ambienti con una luce che ci accieca creando ombre nell’apparente luminosità, che crea suspence con i silenzi e tensione con i piani olandesi del poligrafo. Se il confronto con Bond è inevitabile, con Black Bag la missione è compiuta.

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    Enrico Borghesio,
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  • Recensione Chi segna vince – Buco nell’acqua di Taika Waititi

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    È uscito nelle sale italiane l’11 gennaio 2024, dopo una lunghissima gestazione, Next Goal Wins (Chi Segna Vince nella versione italiana), il nuovo film di Taika Waititi. Il regista neozelandese firma così la sua ottava regia di un lungometraggio, la quarta ad Hollywood, sempre sotto l’ala Disney, detentrice del marchio Searchlight Pictures, distributore sia di Chi Segna Vince sia del precedente Jojo Rabbit nel 2019 (sei candidature agli Oscar e premiato con la statuetta, piuttosto generosa, per la Miglior Sceneggiatura non Originale) nonché di Marvel, con cui Waititi ha diretto Thor: Ragnarok (2017) e Thor: Love and Thunder (2022)

    Il film narra il percorso della nazionale di calcio delle Samoa Americane per le qualificazioni ai campionati mondiali del 2014. Nel 2001 la squadra divenne famosa dopo aver subito la peggiore sconfitta mai registrata nella storia del gioco con trentuno reti segnate dalla nazionale australiana, finendo per essere considerata la squadra peggiore della storia. Nel 2011 viene ingaggiato come commissario tecnico Thomas Rongen, olandese ma da tempo attivo negli Stati Uniti, con un curriculum non certo incoraggiante e vari problemi personali per tentare di dare un approccio vagamente professionale alla squadra e raggiungere un obiettivo specifico: non certo la qualificazione ai mondiali (sogno irrealizzabile) né la prima vittoria, bensì il primo gol della storia della nazione. La storia era stata già raccontata in un documentario del 2014, diretto da Mike Brett e Steve Jamison e intitolato anch’esso Next Goal Wins.

    Il film ha avuto una gestazione piuttosto lunga e tribolata. Le riprese sono state realizzate tra il 2019 e il 2020 e la postproduzione è stata rimandata numerose volte non solo a causa della pandemia ma anche per la necessità di dover rigirare le scene in cui era presente l’attore Armie Hammer, sostituito da Will Arnett in seguito ai suoi problemi giudiziari. Ulteriori problemi hanno portato il film ad essere distribuito in sala negli stati Uniti solo nel 2023 e possiamo dire solo che tutta la fatica poteva essere risparmiata. Non cercheremo di essere teneri con il film di un regista che fin dal suo arrivo ad Hollywood si crogiola nella sua autoreferenzialità proponendosi come un genio della commedia. Parliamo sicuramente di un film dal peso piuma e totalmente innocuo, sicuramente intento a portare al cinema un pubblico interessato più all’evasione e alla rappresentazione del calcio che al film in sé, ma, a parere di chi scrive, questo aspetto rappresenta un’aggravante e non un’attenuante, soprattutto da parte di un regista che non viene considerato (e non si considera lui stesso) un semplice mestierante.

    È desolante pensare che un regista di cui si parla in ottica premi e spesso beneficiario di fiducia delle Major (e di budget importanti) diriga un film così blando ed scialbo. Nulla infatti lascia trasparire un qualsiasi sforzo produttivo per renderlo godibile sul grande schermo: abbiamo una regia pigrissima e ripetitiva, soprattutto nell’inquadrare la rabbia del suo protagonista, una fotografia totalmente piatta e priva di carisma, unite ad un montaggio inutilmente complicato (basti vedere le scene di Haka, la danza tipica Maori). E viene da chiedersi cosa ci possa essere di innovativo in un film sportivo che non decostruisce nulla, che ricalca qualunque stereotipo, che finge di voler inserire tematiche decoloniali e socialmente impegnate per poi rappresentare le Samoa in maniera ridicola e mostrare la figura tipicamente polinesiane delle Faʻafafine senza rispettare per nulla la persona realmente ritratta. 

    Un Michael Fassbender biondo platino porta in scena svogliatamente il personaggio di Rongen, banalizzando le sue problematiche, facendo apparire dal nulla i suoi traumi e rendendolo anche inutilmente inquietante. Senza contare la scelta di casting sbagliata per un personaggio reale vent’anni più anziano e assai meno imponente a livello fisico. 

    A complicare ulteriormente la situazione abbiamo anche un difetto comunissimo nei film sportivi: la mancata conoscenza dello sport preso in questione, da parte del regista e del pubblico di riferimento e l’incapacità di rappresentarlo, finendo per risultare confusionario nelle riprese e didascalico nei dialoghi.  

    Probabilmente il film passerà completamente in sordina, magari stanziandosi un minimo tra gli amanti dei film sportivi e potrebbe mantenere un minimo di popolarità nel mercato casalingo, ma non può certo rappresentare un tassello memorabile nella carriera di Taika Waititi.

    Il punto veramente deprimente dell’intera questione è tuttavia uno solo: Next Goal Wins è una commedia che non fa ridere, mai.

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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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    Nicolò Cretaro,
    Redattore.

  • Recensione The Killer – Il serial killer secondo David Fincher #Venezia80

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    David Fincher covava questo progetto sin dal 2007, quando su produzione della Plan B Entertainment di Brad Pitt avrebbe dovuto adattare la graphic novel The Killer scritta da Alexis “Matz” Nolen e illustrata da Luc Jacamon. Il tutto è stato poi accantonato e ripreso soltanto nel 2019, quando la produzione passò a diverse case produttive americane, fra cui la Paramount Pictures, mentre la distribuzione è finita nelle mani di Netflix.

    Alla 80. Mostra Internazionale d’Arte Cinematografica di Venezia il film viene presentato in Concorso e mantiene come plot l’adattamento cinematografico dell’omonima graphic novel pubblicata nel 1998. Nel film assistiamo alla caccia ai committenti che il serial killer senza nome (interpretato da Michael Fassbender, assente al Lido per lo sciopero degli attori negli Usa) dovrà intraprendere in giro per il mondo a seguito di una missione finita male.

    Aspettare ed eseguire

    In un palazzo nel bel mezzo dell’ombra della notte, alla finestra, con in mano un binocolo per setacciare la sua preda troviamo un uomo qualunque, probabilmente la prossima persona che incontrerai per strada. Colei che pur non guidando silenziosamente l’auto come il detective di Driver l’imprendibile – o del suo aggiornamento Drive – è anch’essa senza nome. Si prepara al prossimo colpo indossando guanti e fedora come l’Alain Delon di Frank Costello faccia d’angelo, ma d’etica del samurai non v’è traccia. L’etica non c’è. Andata. Per sempre. Il killer di Fincher non è un antieroe, tutto il contrario: è una macchina omicida. Fine. The end. Nessuna morale. Al contrario della società della performanza in cui viviamo, Lui non vuole mettersi in mostra. Vuole nascondersi. Lo fa perché lo deve fare, Lui. Assolutamente senza nulla di personale. Un committente chiede, Lui esegue. Esegue glaciale, cinico, efferato. Come i titoli di testa: sempre d’effetto (Fincher viene dai videoclip) e che rispecchiano il protagonista, secchi, brevi (ricordate invece quanto duravano quelli di Millennium?) come breve è il tempo che impiega la pallottola a perforare il cranio della prossima vittima.

    Michael Fassbender nei panni dell’assassino

    Il cliente chiama? Nessun problema. Piazziamoci in cima a un palazzo e aspettiamo. Aspettiamo. E aspettiamo. Secondi, minuti, ore. La noia. Lì ad aspettare con un fucile in mano aspettando il momento giusto per colpire. La vita di Lui non ha vie di mezzo: noia e rapidità d’esecuzione. Sono solo questi i due momenti delle sue giornate. James Stewart all’ormai celeberrima finestra hitchcockiana osservava gli inquilini in cerca dell’assassino, era un voyeur, ne traeva piacere, soddisfazione, appagamento. Ora è l’assassino a spiare le vittime dal binocolo, dopo ore di noia. Non è più un voyeur, Lui non vede l’ora di togliere quel mirino dalla preda, vuole solo finire il compito quotidiano e andare a casa. Non c’è più spazio per il piacere. C’è tempo solo per uccidere. Senza pensarci, come gesto quotidiano. Ma se un colpo finisce male, che fare?

    Gioca d’anticipo, non improvvisare!

    Se c’è un imprevisto bisogna vendicarsi. Spuntare altre caselline. Revenge movie. Rimettere in ordine le cose, altro modo per dire che bisogna mietere altre vittime. Vendicarsi del sangue con altro sangue, in pratica. E’ questa la sua rivincita. E chi sono le nuove prede? Anche loro sono anonime, depersonalizzate, altre persone comuni: l’avvocato, l’esperta e il cliente (tre dei sette capitoli del film). Vanno uccise. Come? Giocando d’anticipo, non improvvisando mai: ha sbagliato la prima volta, non può più permetterselo. Gioca d’anticipo, non improvvisare! si ripete sempre il killer come un mantra, meditazione spesso accompagnata da How Soon Is Now? degli Smiths. Deve ricordarsi sempre di fare. Di agire, anticipare. E’ così il killer fincheriano, annoiato ma anche calcolatore, pragmatico, nichilista, con il tempo che gli scivola via dalle mani. Per portare a termine una missione è capace di aspettare e contare fino a più di mille secondi. Tic tac. In questo Lui rispecchia perfettamente il cinema del suo regista, sempre preciso, chiarissimo, strutturato, senza mai una virgola fuori posto, mondi dove i personaggi non si spostano senza scopi ben precisi, dove la morale fatica a trovare spazio; in Seven il killer John Doe – nomen omen – pur uccidendo le sue vittime seguendo i sette peccati capitali, non arrivava mai al pentimento, così come il detective Mills non rinunciava alla vendetta. Era così anche nei film senza serial killer, come The social network, dove Zuckerberg era addirittura quasi contento di aver tradito l’amico di una vita Eduardo Saverin. Lui, però, ha un altro pensiero fisso: L’empatia è debolezza e la debolezza è vulnerabilità. Ripete continuamente anche questo nella sua testa, in uno stream of consciousness che ricorda molto il dialogo in voice over fra Jack/Dante e Virgilio de La Casa di Jack, altro palcoscenico di un serial killer visto dagli occhi di un altro autore.

    L’attesa silente del Killer

    Pur non calato nell’estro immaginifico di Von Trier o nella perfezione stilistica di Melville, all’interno di una commistione fra polar francese e neo-noir Lui deve riuscire a sistemare la situazione e riparare l’incidente. Il finale del film è anticlimatico proprio perché nell’uccisione non ci può essere soddisfazione, non ci sono sentimenti, il film è una linea retta esattamente come la programmaticità del suo protagonista. Ma una volta sistemato l’imprevisto, che fare? A Lui non resta che riposare in Repubblica Dominicana (non a caso l’unico soprannome con cui lo interpellano durante il film), stendersi su un lettino e riposare. Aspettare. Come ha sempre fatto. Attendere che qualcuno gli commissioni un altro colpo. Quindi forse alzarsi. E uccidere ancora. Ancora. Senza empatia. E ancora. Senza morale. E ancora. Senza una fine. Come tutti i personaggi del cinema di David Fincher, in un mondo senza etica, esattamente quello in cui ormai viviamo. Lui è tutti e nessuno. The Killer contiene tutto il cinema del regista ma anche tanto di noi, che possiamo incontrare Lui la prossima volta che chiuderemo la porta di casa. Ogni giorno, a ogni ora. Tic tac.

    The Killer uscirà solo in alcuni cinema selezionati il 27 ottobre 2023, prima di essere reso disponibile su Netflix a partire dal 10 novembre 2023.

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    Alberto Faggiotto,
    Caporedattore.

  • The Killer – Teaser trailer del nuovo film di David Fincher

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    Il primo trailer del prossimo attesissimo thriller di David Fincher è finalmente arrivato. Il regista infatti, dopo il film Mank e la serie TV Mindhunter, è tornato a collaborare con Netflix che ha pubblicato sui vari social un primo sguardo alla pellicola. 

    Il film si intitola The Killer e sarà presentato in concorso al Festival Di Venezia 2023 che avrà inizio proprio oggi e si prolungherà fino al 9 settembre. (per leggere di più sul programma del Festival clicca qui).

    TRAILER IN ITALIANO

    TRAILER IN ORIGINALE

    Nel trailer vengono mostrati meglio alcuni personaggi ma a farla da padrone è Michael Fassbender (Shame) che interpreta il protagonista della pellicola. Oltre ai vari personaggi vengono mostrate immagini eleganti e glaciali che rivelano qualche dettaglio in più sulla trama del film.

    Sinossi ufficiale:

    Dopo un tragico incarico quasi fallito, un assassino affronta i suoi mandanti e se stesso in una caccia all’uomo internazionale che crede non sia affatto personale.

    A completare il cast assieme a Fassbender vi sono Tilda Swinton (The French Dispatch), Charles Parnell (Spiderhead), Arliss Howard (Mank) e Sophie Charlotte (Passaporto per la libertà).

    Il film è basato sull’omonimo fumetto francese di Alexis Nolent e la sceneggiatura è stata adattata da Andrew Kevin Walker che segna la seconda collaborazione con Fincher dopo il thriller Seven (1995).

    La regia, come detto precedentemente, è affidata a David Fincher che si è visto entusiasta di sviluppare questo progetto assieme a Walker e Fassbender. 

    Diventato ormai un colosso del cinema contemporaneo, Fincher è pronto a stupirci nuovamente dopo aver diretto opere favolose come Zodiac, Fight Club o The Social Network.

    Prodotto da Paramount Pictures, Archaia Entertainment, Boom! Studios, Panic Pictures e Plan B Entertainment, The Killer, dopo il Festival Di Venezia 2023, sarà distribuito da Netflix in alcuni cinema selezionati a partire da ottobre, mentre sarà poi disponibile in esclusiva proprio su Netflix a partire dal 10 novembre 2023.

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    Michael Pierdomenico,
    Redattore news.

  • Alicia Vikander e Michael Fassbender insieme in Hope, il nuovo film di Na Hong-Jin

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    Deadline riporta che la coppia di attori Alicia Vikander e Michael Fassbender saranno i protagonisti del thriller Hope, nuovo progetto dell’acclamato regista coreano Na Hong-Jin dopo il successo di The Wailing (Goksung – La presenza del diavolo), presentato a Cannes nel 2016. 

    Dopo le ulteriori fasi di casting, le riprese del nuovo lungometraggio dovrebbero iniziare verso fine anno in Corea. La storia di Hope, girato in inglese e coreano, seguirà gli abitanti di Hopo Port, dove viene compiuta una misteriosa scoperta ai confini della città. I residenti si troveranno così alle prese con una lotta per la sopravvivenza contro qualcosa che non avevano mai affrontato prima.

    Il regista e sceneggiatore Na Hong-Jin ha dichiarato: “Alle volte la buona volontà di una persona può portare a una catastrofe non voluta semplicemente a causa delle differenze esistenti nelle prospettive. La mia speranza per questo film è di catturare cinematograficamente quel fenomeno in un modo non ancora visto”.

    Hope sarà finanziato dall’etichetta coreana di produzione e distribuzione Plus M Entertainment, posseduta dalla catena di multisala Megabox. Nel team del nuovo film è coinvolto anche il direttore della fotografia Hong Kyung-pyo, collaboratore abituale di Bong Joon-ho già noto per Parasite e alla sua seconda collaborazione con Na Hong-Jin dopo The Wailing.

    Michael Fassbender e Alicia Vikander, che avrebbero deciso di partecipare al nuovo lavoro di Na Hong-Jin colpiti da The Wailing, avevano già recitato insieme in La luce sugli oceani del 2017. Oggi sono una delle coppie più amate di Hollywood, anche nella vita privata, e nel 2021 sono diventati genitori del loro primo figlio.

    Alicia Vikander, premio Oscar per The Danish Girl, è celebre per i suoi ruoli Ex Machina e Tomb Raider e prossimamente interpreterà la sesta e ultima moglie di Enrico VIII Katherine Parr in Firebrand di Karim Ainouz, insieme a Jude Law nei panni del re. Invece Michael Fassbender, star di X-Men e candidato all’Oscar per 12 anni schiavo e Steve Jobs, sarà protagonista di Next Goal Wins di Taika Waititi e del thriller di David Fincher per Netflix The Killer.

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    Edoardo Borghesio
    Redattore news

  • IL CORPO E L’ANIMA NEL CINEMA DI STEVE MCQUEEN

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    “Fin dall’origine della vita, dunque, corpo e anima percepiscono i medesimi moti vitali e li condividono […]
    Così che la loro separazione ne determina la reciproca fine:
    Unica è la loro sopravvivenza, come unica è la loro natura.” 

    Tito Lucrezio Caro 

    Il legame tra Anima e Corpo è uno dei cardini del pensiero occidentale che, nel corso dei secoli, si è spesso interrogato sulla natura del rapporto tra questi due elementi. Fin dall’Antica Grecia, infatti, i più grandi pensatori hanno cercato di definire i limiti entro i quali lo Spirito e la Materia costituiscano l’Essere umano in quanto tale.

    Filosofi come Platone, Cartesio o Sant’Agostino intendono l’anima e il corpo come entità nettamente separate, facendo prevalere la prima sulla seconda: Platone, infatti, considera il corpo come la prigione dell’anima, un luogo in cui essa è costretta e dal quale deve liberarsi. Al contrario altri pensatori, ad esempio Spinoza, intendono l’uomo come unione della sua corporeità e della sua ragione.

    Applicando questa visione a un contesto cinematografico, l’opera del regista inglese Steve McQueen può essere letta ed interpretata come un’analisi del rapporto tra Corpo e Anima. 

    Già nel suo primissimo lungometraggio Hunger (2008), infatti, la correlazione tra Materia e Pensiero è fondamentale. Narrando la storia vera della blanket e dirty protest (ovvero il rifiuto da parte dei prigionieri di indossare gli abiti forniti dal carcere e di radersi barba e capelli, unito all’imbrattamento delle celle con i propri escrementi) di alcuni membri dell’IRA nel carcere irlandese di Long Kesh, il regista mette in mostra dei personaggi che, essendo stati privati di tutto, trovano nel proprio corpo l’unico e ultimo mezzo per ribellarsi. 

    È proprio in questo senso che il Fisico si fa immagine dello Spirito: i prigionieri infatti, costretti in un sistema che li opprime, riacquisiscono la propria libertà nell’affermazione del potere che hanno su loro stessi, ovvero sul Corpo, il quale diventa vero e proprio protagonista attivo della lotta ideologica. Indossare la divisa carceraria e attenersi alle regole della prigione, quindi, significherebbe sottomettersi a tutto ciò contro cui si battono e contro cui si ribellano. 

    La riflessione di McQueen si approfondisce nel momento in cui il leader dei detenuti, Bobby Sands (Michael Fassbender), inizia un lunghissimo sciopero della fame per smuovere l’opinione pubblica e ottenere, finalmente, lo status di prigionieri politici per tutti i suoi compagni. In questo senso il rifiuto di mangiare del protagonista  può essere letto come la rappresentazione fisica di un concetto, come l’emblema della lotta per la libertà nella quale è impegnato. La distruzione deliberata del Corpo diventa, quindi, affermazione suprema dello Spirito e, in quanto tale, non più un semplice mezzo, ma vero e proprio simbolo di un’Idea.

    Dopo questa prima pellicola, Steve McQueen ribalta totalmente la natura del suo discorso con il suo secondo lungometraggio, ovvero Shame (2011).

    Se nel film precedente il Corpo veniva sacrificato in una lotta contro un disagio esterno, in Shame la corporeità viene costantemente ricercata dal protagonista per rispondere a un disagio interiore. La storia di Brandon, infatti, è il racconto di una persona tormentata che, vivendo un’esistenza segnata da un passato traumatico e indefinito, cerca di trovare nella soddisfazione fisica una sorta di tregua da questo conflitto dell’anima. 

    In quest’ottica è importante notare come il Corpo e la Mente del protagonista vivano questo dramma in una simbiosi malata e tossica: Brandon, infatti, ha paura del contatto emotivo e la possibilità di sviluppare un legame e di aprirsi con un’altra persona è talmente spaventosa per lui che il suo stesso fisico la rigetta. In questo senso l’unica scena in cui il protagonista non riesce a fare sesso con una donna diventa emblematica proprio perché quella donna rappresenta tutto ciò che terrorizza il protagonista, ovvero la necessità di mettersi a nudo veramente e di farsi conoscere più profondamente. 

    Il discorso, però, vale anche nel senso opposto: l’incapacità di raggiungere una soddisfazione emotiva attraverso la fisicità nega al Corpo stesso la possibilità di ottenere un appagamento completo. Il volto di Brandon, nelle scene in cui ha rapporti occasionali, non mostra mai piacere e, al contrario, sembra quasi provare dolore e disperazione, come se sapesse, inconsciamente, che ciò che ricerca veramente non si trova lì. 

    Maggiore è il disagio della Mente, quindi, maggiore è l’abbandono al Corpo e,  sprofondando sempre di più in questa spirale di dipendenza, il personaggio di Fassbender si ritrova in un circolo vizioso autodistruttivo che danneggia chiunque cerchi di stargli vicino, dimostrandosi allo stesso tempo vittima e carnefice di se stesso. 

    Il concetto di oggettificazione dell’individuo, già molto presente in Shame in quanto Brandon intende le relazione come mera oggettificazione fisica, viene ripreso da McQueen nel film del 2013 12 Anni Schiavo.

    In questa pellicola che narra il rapimento e la successiva schiavitù di Solomon Northup, un afroamericano libero, la riflessione del regista si sposta sull’idea di possesso:

    il Corpo viene visto come oggetto del possesso e quindi, in altre parole, avere il controllo fisico su una persona significa possederla in quanto Individuo.

    In questo senso il tentativo di spersonalizzazione degli schiavi passa, inevitabilmente, dalla violenza corporea. Distruggendo fisicamente gli afroamericani tramite lo sfruttamento nei campi e tramite torture crudissime, infatti, gli schiavisti cercano di privarli della loro dignità e di annullarne completamente l’umanità e l’anima. 

    Proprio per questo motivo gli schiavi vengono mostrati spesso nudi, quindi metaforicamente “spogliati” della propria identità, e segnati dalle frustate dei padroni, le quali causano ferite tanto fisiche quanto mentali: ogni colpo, ogni sopruso, ogni violenza è, simbolicamente, un tentativo di piegare lo Spirito degli afroamericani, cosicché anche loro accettino di essere ormai possesso degli schiavisti e, in quanto tali, non più umani. 

    Nonostante Solomon riesca, con estrema fatica, a mantenere un briciolo di dignità, questo sistema lascia inevitabilmente tracce molto profonde sul protagonista. Egli infatti, riuscendo finalmente a tornare a casa, istintivamente si scusa con la propria famiglia per il proprio aspetto, essendo ormai abituato a considerarsi inferiore a causa della condizione bestiale nella quale è stato costretto per tutto quel tempo. In questo sta un ulteriore legame tra Corpo e Anima: il suo aspetto fisico, infatti, è ormai piegato da anni di schiavitù e ciò è anche diretta manifestazione del dramma profondissimo che ha vissuto e che non potrà mai essere cancellato, proprio come le cicatrici che porta addosso.

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