Tag: mikey madison

Le nomination agli Oscar 2025

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

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

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

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

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

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

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

Ecco la lista completa delle Nomination agli Oscar 2025:

MIGLIOR FILM

Anora

The Brutalist

A Complete Unknown

Conclave

Dune – Parte 2

Emilia Pérez

I’m Still Here

Nickel Boys

The Substance

Wicked

MIGLIOR REGIA

Sean Baker, Anora

Brady Corbet, The Brutalist

James Mangold, A Complete Unknown

Jacques Audiard, Emilia Pérez

Coralie Fargeat, The Substance

MIGLIOR ATTRICE PROTAGONISTA

Cynthia Erivo, Wicked

Karla Sofia Gascon, Emilia Pérez

Mikey Madison, Anora

Demi Moore, The Substance

Fernanda Torres, Io sono ancora qui

MIGLIOR ATTORE PROTAGONISTA

Adrien Brody, The Brutalist

Timothée Chalamet, A Complete Unknown

Colman Domingo, Sing Sing

Ralph Fiennes, Conclave

Sebastian Stan, The Apprentice

MIGLIOR FILM INTERNAZIONALE

Io sono ancora qui

The girl with the needle

Emilia Pérez

Il Seme del Fico Sacro

Flow

MIGLIOR ATTRICE NON PROTAGONISTA

Monica Barbaro, A Complete Unknown

Ariana Grande, Wicked

Felicity Jones, The Brutalist

Isabella Rossellini, Conclave

Zoe Saldana, Emilia Pérez

MIGLIOR ATTORE NON PROTAGONISTA

Yura Borisov, Anora

Kieran Culkin, A Real Pain

Edward Norton, A Complete Unknown

Guy Pierce, The Brutalist

Jeremy Strong, The Apprentice

MIGLIOR SCENEGGIATURA ORIGINALE

Anora

The Brutalist

A Real Pain

September 5

The Substance

MIGLIOR SCENEGGIATURA NON ORIGINALE

A Complete Unknown

Conclave

Emilia Pérez

Nickel Boys

Sing Sing

MIGLIOR FOTOGRAFIA

The Brutalist

Dune – Parte 2

Emilia Pérez

Maria

Nosferatu

MIGLIOR MONTAGGIO

Anora

The Brutalist

Conclave

Emilia Pérez

Wicked

MIGLIOR SUONO

A Complete Unknown

Dune – Parte 2

Emilia Pérez

Wicked

Il Robot Selvaggio

MIGLIOR SCENOGRAFIA

The Brutalist

Conclave

Dune – Parte 2

Nosferatu

Wicked

MIGLIORI COSTUMI

A Complete Unknown

Conclave

Il Gladiatore II

Nosferatu

Wicked

MIGLIOR TRUCCO E ACCONCIATURA

A Different Man

Emilia Pérez

Nosferatu

The Substance

Wicked

MIGLIOR CANZONE ORIGINALE

“El Mal”, Emilia Pérez

“The Journey”, The Six Triple Eight

“Like a bird”, Sing Sing

“Mi camino”, Emilia Pérez

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

MIGLIOR COLONNA SONORA

The Brutalist

Conclave

Emilia Pérez

Wicked

Il Robot Selvaggio

MIGLIORI EFFETTI VISIVI

Alien: Romulus

Better Man

Dune – Parte 2

Il Regno del pianeta delle scimmie

Wicked

MIGLIOR FILM D’ANIMAZIONE

Flow

Inside Out 2

Memoir of a snail

Wallace & Gromit: Le piume della vendetta

Il Robot Selvaggio

MIGLIOR CORTOMETRAGGIO D’ANIMAZIONE

Beautiful men

In the shadows of the cypress

Magic candies

Wander to wonder

Yuck!

MIGLIOR CORTOMETRAGGIO

A lien

Anuja

I’m not a robot

The last ranger

The man who could not remain silent

MIGLIOR DOCUMENTARIO

Black box diaries

No other land

Porcelain war

Soundtrack to a coup d’etat

Sugarcane

MIGLIOR CORTOMETRAGGIO DOCUMENTARIO

Dead by numbers

I am ready, Warden

Incident

Instruments of a beating heart

The Only Girl in The Orchestra

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Enrico Borghesio,
Redattore.

January 24, 2025
Recensione Anora – Il futuro classico è un delirio tragicomico

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Il 7 novembre 2024 è uscito Anora nelle sale italiane. Già vincitore della Palma d’Oro a Cannes e acclamato dalla critica di tutto il mondo, si autoproclama da subito papabile vincitore dell’Oscar come Miglior Film. Andiamo subito a capire perché.

Dietro alla sceneggiatura, al montaggio e alla cinepresa c’è Sean Beaker (Tangerine, The Florida project e Red Rocket). Proprio per questa sua poliedricità nel mettere mano a tutti i dipartimenti principali dei suoi progetti, per comprendere Anora bisogna prima comprendere il genio di Baker. La carriera del regista nasce nel cinema indipendente, dove si dimostra fin da subito una delle principali spinte per il successo di case di produzione minori come A24 o Neon nell’ambito dei cosiddetti film “indie”, in forte sviluppo tra il 2015 e il 2020: indipendenti non solo nelle caratteristiche della produzione, ma anche in quelle stilistiche/artistiche. Comuni alla sua intera filmografia sono infatti ambientazioni del ceto basso americano, lavori solitamente considerati deplorevoli come la prostituzione e personaggi pieni di difetti, oltre che moralmente ambingui.

Anche Anora ha come protagonista una prostituta. Si fa chiamare “Ani” (Mikey Madison) e lavora le notti in un locale di Brooklyn a New York. Anche grazie al sorriso sempre stampato sul volto, una sera incontra Ivan (Mark Eydelshteyn), e tra i due scintilla una chimica più intima e confortevole di qualsiasi cliente con cui ha avuto a che fare. Ani sembra aver incontrato il principe azzurro: un adolescente immaturo, ma figlio di un oligarca russo; a Ivan non mancano i soldi, quindi ad Ani non manca la felicità. Una serie di incontri con la famiglia del ragazzo, però, faranno presto scoppiare la bolla e Ani sarà costretta ad affrontare una realtà piuttosto… turbolenta.

Quello che rende Anora il miglior film di Sean Baker nonché il film dell’anno per eccellenza è il sorprendente ribaltamento di genere che nessuno si aspetta. Il trasformismo del film passa inizialmente attraverso la commedia, prima di potersene rendere conto scivola nel romantico, poi nel film d’azione, ritorna alla commedia e si conclude nel dramma più spietato. Ma è proprio il lato comico che ci prende più alla sprovvista: è qualcosa di chapliniano, isterico a tratti, che ci porta a ridere di una tragedia dell’assurdo. Si genera così una scena, all’interno di una memorabile sequenza di quasi trenta minuti, che lascia esplodere tutto l’estro di Baker, dove la semplicità della scenografia e dei costumi (un soggiorno, una lampada, una sciarpa) assume un valore istantaneamente iconico.

Punto di forza di Anora risiede infine nei personaggi, che contribuiscono a una visione di insieme spettacolare. C’è un momento in particolare in cui i quattro personaggi principali, in fuga dagli scagnozzi assunti dal padre di Ivan, camminano in fila indiana su un molo newyorkese. Stampano sulle nostre retine una cartolina che descrive la dissoluzione contemporanea dell’american dream. A metà tra The Breakfast Club di Hughes e Le Iene di Tarantino, ognuno di loro è un’anima in fuga intrappolata da un sistema americano che non gli appartiene. E noi spettatori ci rendiamo conto in quell’esatto momento di aver imparato a voler bene a ciascuno di loro. Si dissolvono i confini tra personaggi buoni e cattivi in quattro scambi di battute davanti a un panino, e Baker descrive così la sua visione di sogno americano: ad accomunarci sono gli ideali e il loro infrangersi, più di qualsiasi cosa desideriamo fingere di essere. “Ani” non è una prostituta, ma una persona che elemosina amore, per quanto si sforzi di farci credere il contrario per l’intera durata della pellicola. Cade la maschera in un ultimo sguardo, brutale, catartico.

L’iniziale favola di una moderna Cenerentola si trasforma dunque in un delirio di generi che inventano un film non categorizzabile: Anora non assomiglia a niente se non a sé stesso, un po’ come la sua protagonista. È il sogno americano di Sean Baker, che ci racconta come le favole non esistono, il lieto fine nemmeno, ma c’è tanta assurdità e isteria da apprezzare in relazioni interpersonali che vengono e spariscono come una bolla. Finché non scoppia, c’è solo riderci sopra.

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Lara Ioriatti,
Redattrice.

November 8, 2024