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Oppenheimer vs Stranamore: arriva la bomba

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Un uomo fatto come tutti gli altri, nel segreto di una stanza di questo mondo, inventerà un esplosivo incomparabile, in confronto al quale gli esplosivi attualmente esistenti saranno considerati quali innocui giocattoli. Ed un altro uomo fatto anche lui come tutti gli altri, ma degli altri un po più ammalato, ruberà tale esplosivo e s’arrampicherà al centro della terra per porlo nel punto ove il suo effetto potrà essere il massimo. Ci sarà un’esplosione enorme che nessuno udrà e la terra ritornata alla forma di nebulosa errerà nei cieli priva di parassiti e di malattie.

Italo Svevo, La coscienza di Zeno, 1923

All’uscita nei cinema di Oppenheimer ad agosto 2023, fra i commenti più frequenti ci furono gli accostamenti con Il Dottor Stranamore ovvero Come ho imparato a non preoccuparmi e ad amare la bomba. L’epopea storica di Christopher Nolan e la satira bellica di Stanley Kubrick del 1964 condividono il tema della bomba atomica, un autentico totem degli anni ‘50.

Tantissimi film pongono al centro della scena il celebre ordigno, interpretandolo di volta in volta come arma, strategia politica, obiettivo, trauma o minaccia, da L’ultima spiaggia a Hiroshima Mon Amour, dei film di 007 a Godzilla. Tuttavia, senza dubbio, le due pellicole dall’impatto popolare più importante sono state proprio Il Dottor Stranamore e Oppenheimer, ed è interessante provare ad accostarle per esaminare quali elementi effettivamente condividano, e, più proficuamente, quali siano le differenze.

In Nolan We Trust

Oppenheimer è un adattamento della biografia premio Pulitzer dello scienziato e, grazie alla sua derivazione letteraria, può vantare una struttura narrativa molto solida. Ciononostante è anche perfettamente un film alla Nolan, fondato su una forte conflittualità del protagonista verso il mondo circostante, e la storia viene raccontata attraverso un montaggio narrativo anomalo e complesso, come tipico della filmografia nolaniana.

In fondo, il grande hype per l’uscita della biopic di uno scienziato non poteva derivare esclusivamente dal film in sé, ma necessariamente sarebbe dipeso da altri fattori: un po’ fu la simpatica concomitanza con un’altra importante uscita cinematografica (il cosiddetto Barbenheimer), e un po’ il fatto che fosse sì la biopic di uno scienziato, ma firmata dall’autore della trilogia del Cavaliere Oscuro.

E, a dir la verità, la regia di Nolan è forse il più grande motivo anche del successo del film. Grazie al suo tocco, Robert Oppenheimer attraversa un’epica da supereroe, o quantomeno offrendoci quelle vibes particolarmente coinvolgenti. La origin story del fisico e la sua grande missione di costruire la bomba atomica trasformano quelle che in sceneggiatura potrebbero apparire come rischiose elucubrazioni in scienziatese del protagonista in una corsa contro il tempo per salvare il mondo, cioè popcorn per il grande pubblico.

E, come ogni supereroe, Oppenheimer deve avere un suo antagonista. Avrebbero potuto essere i giapponesi o i russi, e invece è un personaggio vero e proprio, appena nella stanza accanto, con carisma e doppia identità, proprio come se fosse un cinecomic. E così prende forma il personaggio di Robert Downey Jr., un uomo politico di fama assai discreta sino a prima del film, figura molto meno rilevante rispetto, per esempio, al terribile senatore McCarthy che diede notoriamente filo da torcere ad Oppenheimer negli stessi anni.

Come in un cinecomic, Nolan ha selezionato tra gli albi storici quali personaggi fosse più interessante far incontrare al suo protagonista, mettendoli in scena con colpi d’azione e caratterizzazioni eterogenee, simpatiche, bizzarre, antagonistiche. E tutto il cast ha onorato la sceneggiatura al meglio, a partire senza dubbio da Cillian Murphy, indelebilmente malinconico, e quindi posato a sufficienza da apparire come il perfetto equilibrio tra supereroe e scienziato.

Non potete litigare nella stanza della guerra

Il Dottor Stranamore è la storia dell’escalation incontrollata di una parata di idioti. Kubrick, notoriamente un convinto antimilitarista, in questo film realizza una feroce satira di qualsiasi grado della politica statunitense (e, per estensione, di qualsiasi governo). Perché Kubrick, all’opposto di Nolan, non è quantomeno affascinato dall’eccezionalità dell’ingegno umano, ma ne denuncia l’inesorabile fallacia. Nel 1964, la bomba atomica e la guerra nucleare erano una minaccia concreta per il mondo intero, con la tensione tra i blocchi ai massimi livelli in piena Guerra Fredda. In questo contesto di tensione fatale, l’ignoranza e l’incompetenza dei vertici del potere sono un tema fondamentale nell’opera di Kubrick. Strappando le parole alla commedia di guerra Vogliamo vivere! di Ernest Lubitsch, “La salvezza del paese è in mano a un gigione”.

In preda a delirio, il comandante di una base aerea americana ordina un attacco atomico multiplo sul suolo russo, cosicché diversi bombardieri partono per la missione. I vertici si organizzano nella celeberrima War Room della Casa Bianca per evitare ritorsioni. Dall’ambasciatore sovietico in USA, il Presidente Muffley apprende dell’esistenza di un dispositivo dei russi, chiamato ordigno della fine del mondo, che verrà automaticamente e incontrovertibilmente attivato non appena avverranno attacchi su bersagli controllati da Mosca: l’olocausto nucleare è inevitabile.

In tutto ciò si passa la scena un carosello surreale di personaggi ridicoli guidati dal triplice ruolo dello strabiliante Peter Sellers, clamorosamente sul filo tra la macchietta satirica e il caratterista anche serio nella situazione: il colonnello della RAF Mandrake, che realizza per primo ma impotentemente lo squilibrio mentale del generale che ha ordinato l’attacco; il Presidente USA Merkin Muffley chiamato a mediare tra la banda di cretini nella War Room; e l’assurdo Dr. Stranamore, da cui il titolo del film, uno scienziato ex nazista convertito alla causa statunitense (non completamente, visto che i suoi arti infermi tendono ancora nostalgici al saluto a Hitler) che si occupa di ordigni atomici per il Presidente.

Con tutta la simpatia della satira, il film di Kubrick è comunque fortemente drammatico e mette in scena uno scenario catastrofico non poi così lontano dalla verosimiglianza della Guerra Fredda (e del mondo di oggi, forse). E pochi minuti prima dell’esplosione del mondo, i politicanti più importanti della terra perdono tempo ad azzuffarsi per le foto nella stanza della guerra, dove chiaramente non è possibile litigare, o i supremi capi di stato eccedono di cortesia nel mettersi giù la cornetta telefonica per primo. La bomba atomica è una minaccia concreta, asfissiante, un amaro destino che diventa realtà.

La teoria ci porta fin qua

Mentre Oppenheimer tratta la bomba come obiettivo da raggiungere, e adopera l’adrenalina per ricostruirne il contesto e la minaccia (ormai sopite nella sensibilità contemporanea), Il Dottor Stranamore insegna ironicamente a non preoccuparsi e ad amarla, ossia cerca di sventarne la minaccia in extremis, perché vive in un mondo in cui la bomba esiste ed è un pericolo tangibile. Poi, dal totem della bomba, entrambi derivano il racconto del comportamento umano intorno alla bomba: chi ha necessità di costruirla per dare un segnale incontrovertibile al mondo sul suo pericolo, chi ha il terrore non scongiurabile delle sue conseguenze.

Entrambi si basano soprattutto sul carisma dell’interprete principale: Cillian Murphy al coronamento della sua carriera nel ruolo di uno scienziato tormentato, reso con la massima tensione drammatica; Peter Sellers si divide in tre caratteri che funzionano in progressiva migrazione dal marziale allo sciroccato, in varie declinazioni di grottesco: nel mezzo sta il personaggio del Presidente USA, un ruolo di mediatore insufficiente in questa battaglia navale globale.

In un certo senso, la trama di Oppenheimer è una storia vera con una messinscena di finzione, una ricostruzione ipotizzata sulla base delle fonti a disposizione. Al contrario, Il Dottor Stranamore narra una vicenda di finzione ma prelevando caratteri, conflitti e dilemmi concreti e contemporanei, pur portandoli all’estremo in caricature. Viene spontanea la domanda: come sarebbero apparsi Robert Oppenheimer e Lewis Strauss in questo universo narrativo? O, al contrario, che ruolo avrebbero potuto avere il Dr. Stranamore, il Presidente Muffley o Turdgison durante il Progetto Manhattan?

Insomma, il carattere che fa distinguere questi due grandi film sulla bomba è sicuramente il tono, che viene dalla regia di un autore affermato e con uno stile personale e riconoscibile. Quella di Kubrick è una denuncia satirica sotto forma di commedia nera, quello di Nolan è un dramma storico-scientifico nell’era del cinecomic. E, infatti, i due film interagiscono in modo diverso con lo spettatore, rendendo la storia in una certa maniera.

Christopher Nolan tipicamente nei suoi film manipola la fabula, ossia il racconto dei fatti, secondo l’intreccio scelto, che di volta in volta alterna, incrocia o incastella piani temporali distinti. Oppenheimer in particolare dipana una narrazione che si svolge nell’arco di quarant’anni con salti avanti e indietro, e scandisce tre ore con tagli continui di sequenze brevissime, ritmate e tese, segnalate spesso dal passaggio da colori a bianco e nero.

Il Dottor Stranamore racconta una vicenda di un’ora e mezza in circa un’ora e mezza, allineando perfettamente fabula e intreccio, e mostra situazioni differenti collocate in luoghi diversi ma tutte poste in continuità lineare: Ripper ordina l’attacco / il battaglione aereo lo esegue / il Presidente cerca di evitarlo. La storia è lineare a tal punto che sarebbe possibile trasporla a teatro: è una narrazione drammatica in senso classico, letteralmente con personaggi che dibattono intorno ad un tavolo (infatti, a ottobre debutterà per la prima volta a Londra uno spettacolo teatrale tratto da Dr. Strangelove con protagonista Steve Coogan).

Infine, forse, l’aspetto di fondamentale differenza tra Stranamore e Oppenheimer non è il tono del film, il trattamento della bomba o il ritratto di chi se ne occupa, ma è il pubblico a cui si rivolgono. Tra i giudizi espressi all’indomani all’uscita di Oppenheimer, ci fu anche chi disse “Stranamore aveva già detto le stesse cose e anche meglio, si vede che Nolan non è Kubrick”. In realtà, si vede soprattutto che noi spettatori di oggi non siamo più quelli di allora.

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Edoardo Borghesio,
Redattore news.

September 10, 2024
Oscar 2024 – Tutti i vincitori

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Si è conclusa da poche ore la 96esima edizione degli Oscar e a trionfare su tutti è stato Oppenheimer di Christopher Nolan seguito da Povere Creature!, proprio come ci si aspettava, ma analizziamo meglio tutta la serata.

La cerimonia, tenutasi nel Dolby Theatre di Los Angeles, è andata in onda in Italia nella notte tra domenica 10 e lunedì 11 marzo con un importante ritorno, dopo vent’anni dall’ultima volta, della trasmissione in chiaro sulla Rai.

A condurre la cerimonia torna dallo scorso anno Jimmy Kimmel che firma così la sua quarta conduzione degli Oscar. La serata si presenta infatti simile a quella della scorsa edizione, senza grandi colpi di scena.

I premi attoriali

Si comincia con l’assegnazione del premio alla miglior attrice non protagonista che viene annunciata da Jamie Lee Curtis, vincitrice della stessa categoria nello scorso anno, e vinta da Da’Vine Joy Randolph, per il suo personaggio in The Holdovers, che si lascia andare in un commovente discorso sull’accettazione di se stessi e ai vari ringraziamenti di cui uno speciale a sua madre. A seguire il premio per il miglior attore non protagonista, annunciato da Ke Huy Quan, vinto da Robert Downey Jr. che dedica il premio alla sua “terribile infanzia”, alla moglie che ringrazia per essersi presa cura di lui come un veterinario con un cucciolo ed infine al suo avvocato che lo ha salvato da molte situazioni.

Passando ai ruoli da protagonista vediamo premiato prima Cillian Murphy per Oppenheimer che dedica il premio ai suoi parenti e all’Irlanda, suo paese di origine, lanciando infine un messaggio di pace, per poi arrivare alla migliore attrice in cui trionfa Emma Stone per Povere Creature! a scapito della “favorita” Lily Gladstone a cui la Stone dedica il premio assieme alle altre attrici candidate ringraziando poi il regista per avergli dato la possibilità di interpretare un ruolo così importante.

I trionfi internazionali

Spazio per le pellicole internazionali che trionfano nella categoria dedicata ma anche in altre ambite categorie. In primis vediamo la vittoria de Il Ragazzo e L’Airone come miglior film d’animazione portando Hayao Miyazaki a quota 3 premi Oscar ricevuti. Altri importanti trionfi sono quelli di Godzilla Minus One per i migliori effetti speciali (primo film orientale a vincere questo premio), Anatomia Di Una Caduta per la miglior sceneggiatura originale e La Zona D’Interesse per il miglior sonoro.

Infine quest’ultima pellicola diretta da Jonathan Glazer guadagna anche l’ambita statuetta per il miglior film internazionale con il regista che lancia un grande messaggio di pace vedendo il male da ambo i lati del conflitto. Niente statuetta invece per Io Capitano di Matteo Garrone.

Premi tecnici e le esclusioni

A guidare questa serie di premi troviamo proprio Oppenheimer con ben 4 statuette tra cui miglior fotografia, miglior montaggio, miglior colonna sonora e miglior regista. A seguire Povere Creature! con 3 premi tecnici tra cui miglior scenografia, migliori costumi e miglior trucco e acconciature lasciando a bocca asciutta Barbie. I grandi esclusi però sono Killers Of The Flower Moon e Maestro che tornano a casa con 0 statuette nonostante le molte nomination (10 per il film di Martin Scorsese).

Esibizioni musicali

Tra le interpretazioni per la miglior canzone spiccano quelle di Billie Eilish e Finneas O’Connell che hanno vinto l’Oscar per la categoria con il brano “What Was I Made For?” da Barbie e l’esuberante esibizione di Ryan Gosling e Mark Ronson con “I’m Just Ken” sempre da Barbie con l’inaspettata partecipazione del chitarrista Slash.

I momenti più divertenti

I pochi momenti “divertenti” della serata sono stati la presenza del cane Messi di Anatomia di una caduta (al centro di polemiche nei giorni precedenti); John Cena che compare quasi completamente nudo per un piccolo sketch; ed infine una frecciatina di Jimmy Kimmel a Donald Trump che aveva criticato il conduttore in diverse occasioni.

La statuetta più ambita, ovvero quella al miglior film, è stata presentata da Al Pacino che annuncia la vittoria di Oppenheimer che trionfa definitivamente in questa edizione portandosi con sé un gran consenso del pubblico.

Varie polemiche

Come ogni anno gli Oscar portano molte polemiche tra il pubblico sia nel periodo precedente alla cerimonia che successivo. Quest’anno non è da meno con persone che si lamentavano della non candidatura di Greta Gerwig e Margot Robbie, rispettivamente come miglior regista e miglior attrice, gridando allo scandalo senza però considerare le altre meritate candidature al femminile. Queste polemiche svaniscono con la cerimonia dopo la vittoria di 6 donne nelle categorie generali (quindi senza contare quelle riservate ad un solo sesso), un grande passo rispetto ad altre edizioni.

Un’altra piccola polemica è la vittoria della Stone rispetto alla Gladstone anche se questa è meno sentita data l’incredibile bravura di entrambe le attrici

Ma adesso arriviamo al sodo elencando tutti i candidati e i vincitori degli Oscar 2024:

Miglior film

American Fiction

Anatomia di una Caduta

Barbie

The Holdovers

Killers Of The Flower Moon

Maestro

Oppenheimer

Past Lives

Povere Creature!

La Zona D’Interesse

Migliore regista

Justine Triet – Anatomia di una Caduta

Jonathan Glazer – La Zona D’Interesse

Yorgos Lanthimos – Povere Creature!

Christopher Nolan – Oppenheimer

Martin Scorsese – Killers Of The Flower Moon

Miglior attore protagonista

Bradley Cooper – Maestro

Colman Domingo – Rustin

Paul Giamatti – The Holdovers

Cillian Murphy – Oppenheimer

Jeffrey Wright – American Fiction

Miglior attrice protagonista

Annette Bening – Nyad

Lily Gladstone – Killers Of The Flower Moon

Sandra Hüller – Anatomia di una Caduta

Carey Mulligan – Maestro

Emma Stone – Povere Creature!

Miglior attore non protagonista

Sterling K. Brown – American Fiction

Robert De Niro – Killers of the Flower Moon

Robert Downey Jr. – Oppenheimer

Ryan Gosling – Barbie

Mark Ruffalo – Povere creature!

Miglior attrice non protagonista

Emily Blunt – Oppenheimer

Danielle Brooks – Il colore viola

Jodie Foster – Nyad

America Ferrera – Barbie

Da’Vine Joy Randolph – The Holdovers

Miglior sceneggiatura originale

Anatomia di una caduta – Justine Triet, Arthur Harari

The Holdovers – David Hemingson

Maestro – Bradley Cooper, Josh Singer

May December – Samy Burch, Alex Mechanik

Past Lives – Celine Song

Miglior sceneggiatura non originale

American Fiction – Cord Jefferson

Barbie – Greta Gerwig, Noah Baumbach

La zona d’interesse – Jonathan Glazer

Oppenheimer – Christopher Nolan

Povere creature! – Tony McNamara

Miglior film internazionale

Io, Capitano – Matteo Garrone (Italia)

Perfect days – Wim Wenders (Giappone)

La società della neve – Juan Antonio Bayona (Spagna)

The Teachers’ Lounge – İlker Çatak (Germania)

La Zona d’interesse – Jonathan Glazer (Regno Unito)

Miglior film d’animazione

Il Ragazzo e l’Airone – Hayao Miyazaki

Elemental – Peter Sohn

Nimona – Troy Quane, Nick Bruno

Robot Dreams – Pablo Berger

Spider-Man: Across the Spider-Verse – Joaquim Dos Santos, Kemp Powers, Justin K. Thompson

Miglior fotografia

El Conde – Edward Lachman

Killers of the Flower Moon – Rodrigo Prieto

Maestro – Matthew Libatique

Oppenheimer – Hoyte Van Hoytema

Povere creature! – Robbie Ryan

Miglior montaggio

Anatomia di una caduta – Laurent Sénéchal

The Holdovers – Kevin Tent

Killers of the Flower Moon – Thelma Schoonmaker

Oppenheimer – Jennifer Lame

Povere creature! – Yorgos Mavropsaridis

Migliori effetti visivi

The Creator

Godzilla Minus One

Napoleon

Mission: Impossible – Dead Reckoning (Parte Uno)

Guardiani della galassia vol. 3

Miglior sonoro

Maestro

Oppenheimer

La zona d’interesse

Mission: Impossible – Dead Reckoning

The Creator

Miglior colonna sonora

American Fiction – Laura Karpman

Indiana Jones e il quadrante del destino – John Williams

Killers of the Flower Moon – Robbie Robertson

Oppenheimer – Ludwig Göransson

Povere creature! – Jerskin Fendrix

Miglior canzone originale

“It never went away” da American Symphony – Jon Batiste, Dan Wilson

“I’m Just Ken” da Barbie – Ryan Gosling, Mark Ronson, Andrew Wyatt

“What was I made for?” da Barbie – Billie Eilish, Finneas O’Connell

“The Fire Inside” da Flamin’ Hot – Diane Warren

“Wahzhazhe” da Killers of the Flower Moon – Scott George

Miglior scenografia

Barbie – Sarah Greenwood, Katie Spencer

Killers of the Flower Moon – Jack Fisk, Adam Willis

Napoleon – Arthur Max, Elli Griff

Oppenheimer – Ruth De Jong, Claire Kaufman

Povere creature! – Shona Heath, Zsuzsa Mihalek, James Price

Miglior trucco e acconciature

Golda

La società della neve

Maestro

Oppenheimer

Povere creature!

Migliori costumi

Barbie – Jacqueline Durran

Killers of the Flower Moon – Jacqueline West

Napoleon – Janty Yates, David Crossman

Oppenheimer – Ellen Mirojnick

Povere creature! – Holly Waddington

Miglior documentario

Bobi Wine: The People’s President

The Eternal Memory

20 Days in Mariupol

Four Daughters

To Kill a Tiger

Miglior cortometraggio

The After

Invincible

The shepherd

Strange way of Life

The Wonderful Story of Henry Sugar

Miglior cortometraggio documentario

The ABCs of Book Banning

The Barber of Little Rock

Island in Between

The Last Repair Shop

Nǎi Nai & Wài Pó

Miglior cortometraggio animato

Letter to a pig

Ninety-Five Senses

Our Uniform

Pachyderme

War is Over! Inspired by the Music of John & Yoko

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Michahel Pierdomenico,
Redattore.

March 11, 2024
Screen Actors Guild Awards 2024 – Tutti i vincitori

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Si è tenuta il 25 febbraio la 30ª edizione degli Screen Actors Guild Awards, evento organizzato dal sindacato statunitense degli attori. La cerimonia, avvenuta allo Shrine Auditorium and Expo Hall di Los Angeles, per la prima volta è stata mandata in onda dal vivo su Netflix.

Oppenheimer ha trionfato, ottenendo i premi per il miglior cast cinematografico e per le migliori performance (Cillian Murphy e Robert Downey Jr).

Sul fronte televisivo Succession è stata giudicata la serie drammatica con il miglior ensemble e The Bear ha guadagnato la stessa statuetta per il genere commedia.

Fran Dresher, la presidente di SAG-AFTRA, ha menzionato i 118 giorni di sciopero degli attori, sottolineando l’importanza dell’accordo raggiunto per le generazioni a venire e ringraziando i membri del sindacato per la solidarietà dimostrata durante quella che ha definito “un’estate calda”.

Barbra Streisand è salita sul palco sulle note di Come eravamo per ritirare il riconoscimento alla carriera. L’attrice ha voluto ricordare la sua infanzia in un modesto appartamento di Brooklyn nel quale sognava il cinema per evadere dalla realtà.

La manifestazione non si è svolta sotto la guida di un unico presentatore, ma diversi volti di Hollywood si sono avvicendati sul palco per celebrare i trionfi dei colleghi.

Ecco tutti i vincitori dei SAG Awards 2024:

Cinema

Miglior Cast Cinematografico

Oppenheimer

Migliore Attrice Protagonista

Lily Gladstone – Killers of the Flower Moon

Migliore Attore Protagonista

Cillian Murphy – Oppenheimer

Migliore Attrice non Protagonista

Da’Vine Joy Randolph – The Holdovers – Lezioni di vita

Migliore Attore non Protagonista

Robert Downey Jr. – Oppenheimer

Migliori Controfigure Cinematografiche

Mission: Impossible – Dead Reckoning – Parte Uno

Televisione

Miglior Cast in una Serie Drammatica

Succession

Migliore Attrice in una Serie Drammatica

Elizabeth Debicki – The Crown

Migliore Attore in una Serie Drammatica

Pedro Pascal – The Last of Us

Miglior Cast in una Serie Commedia

The Bear

Migliore Attrice in una Serie Commedia

Ayo Edebiri – The Bear

Migliore Attore in una Serie Commedia

Jeremy Allen White – The Bear

Migliore Attrice in un Film Televisivo o in una Miniserie

Ali Wong – Lo scontro (Beef)

Migliore Attore in un Film Televisivo o in una Miniserie

Steven Yeun – Lo scontro (Beef)

Migliori Controfigure Televisive

The Last of Us

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Maria Cagnazzo,
Redattrice.

February 27, 2024
Oscar 2024 – Dove vedere tutti i film candidati
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Articolo in costante aggiornamento!

Gli Oscar sono il premio cinematografico più importante del mondo (e vi rimandiamo a questo articolo per capire il motivo per cui sono anche i più seguiti e amati). In questo articolo non faremo pronostici, ma un riepilogo di dove poter trovare tutti i film che hanno ottenuto almeno una nomination. Buona visione!

Lungometraggi
- American Symphony (Netflix)
- El Conde (Netflix)
- La società della neve (Netflix)
- Maestro (Netflix)
- Nimona (Netflix)
- Nyad (Netflix)
- Rustin (Netflix)
- Across the Spider-Verse (Prime Video)
- American Fiction (Prime Video)
- Killers of the Flower Moon (Prime Video)
- Elemental (Disney+)
- The Creator (Disney+)
- Flamin’ Hot (Disney+)
- Indiana Jones e il quadrante del destino (Disney+)
- Guardiani della Galassia 3 (Disney+)
- Bobi Wine (Disney+)
- Io Capitano (NOW)
- Mission Impossible: Dead Reckoning Parte 1 (NOW)
- Barbie (Infinity+)
- Napoleon (Apple TV+)
Alcuni dei film più importanti e apprezzati dal pubblico sono disponibili in streaming, ma solo su noleggio. Ecco l’elenco:
- Anatomia di una caduta (disponibile solo su noleggio)
- Oppenheimer (disponibile solo su noleggio)
Purtroppo anche quest’anno sono tanti i film candidati che non sono ancora disponibili in streaming, anche se alcuni di questi potete ancora vederli al cinema mentre altri usciranno solo nelle prossime settimane (controllate la programmazione della vostra sala di fiducia!). Ecco l’elenco:
- 20 Days in Mariupol
- Four Daughters
- Godzilla Minus One
- Golda
- Il colore viola
- Il mio amico robot
- Il ragazzo e l’airone
- La zona d’interesse
- May December
- Past Lives
- Perfect Days
- Povere creature!
- The Eternal Memory
- The Holdovers
- The Teachers’ Lounge
- To Kill a Tiger
Cortometraggi
- Invincible (Vimeo)
- Island in Between (Youtube)
- Letter to a Pig (non disponibile in streaming)
- Nǎi Nai & Wài Pó (non disponibile in streaming)
- Ninety-Five Senses (non disponibile in streaming)
- Our Uniform (non disponibile in streaming)
- Pachyderme (non disponibile in streaming)
- Strange Way of Life (MUBI)
- The ABCs of Book Banning (Paramount+)
- The After (Netflix)
- The Barber of Little Rock (Youtube)
- The Last Repair Shop (Disney+)
- The Shepherd (Disney+)
- The Wonderful Story of Henry Sugar (Netflix)
- War is Over! Inspired by the Music of John & Yoko (non disponibile in streaming)
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February 20, 2024
BAFTA 2024 – Un altro trionfo per Oppenheimer

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Domenica 18 febbraio presso la Royal Festival Hall di Londra si è tenuta la 77esima cerimonia di consegna degli EE BAFTA, ossia i premi di merito cinematografico conferiti dall’Accademia Britannica del Cinema e della Televisione. Il veterano del palcoscenico e del piccolo schermo David Tennant ha condotto la serata, cui ha partecipato in veste di rappresentanza regale anche il Principe William di Galles.

Senza dubbio la serata è vinta da Oppenheimer, che conquista 7 delle 13 statuette a cui era candidato, incluse quelle al miglior film e alla miglior regia, che si fanno sempre più forti in vista degli Oscar. Riconfermati anche i riconoscimenti ai comparti tecnici di colonna sonora, fotografia e montaggio, e i premi all’attore protagonista Cillian Murphy e Robert Downey Jr. di supporto. Nel suo discorso di accettazione, Christopher Nolan (finalmente insignito del prestigioso titolo) ha ricordato gli sforzi degli enti che si preoccupano di demilitarizzare l’Occidente e smantellare gli ordigni.

Ottimi risultati anche per Povere Creature! di Yorgos Lanthimos, premiato nelle categorie artistiche di scenografia, trucco e acconciature, costumi e pure effetti speciali, ma anche alla miglior attrice protagonista Emma Stone. La migliore interprete femminile di supporto è di nuovo Da’Vine Joy Randolph per The Holdovers – Lezioni di vita, che vince anche il miglior casting.

La zona d’interesse di Jonathan Glazier (in uscita il 22 febbraio in Italia) sbaraglia la concorrenza al miglior sonoro e ottiene un doppio riconoscimento quasi paradossale al miglior film britannico e al miglior film in lingua non inglese, essendo una produzione anglo-tedesca recitata in tedesco. 20 Days in Mariupol è eletto miglior documentario e Il ragazzo e l’airone di Hayao Miyazaki miglior film d’animazione. Completano la rosa dei premi principali la miglior sceneggiatura originale al franco-tedesco Anatomia di una caduta e miglior sceneggiatura non originale all’outsider American Fiction.

Concludono la serata a mani vuote il fenomeno al boxofice Barbie e Maestro, biopic di Leonard Bernstein firmata da Bradley Cooper. Gira già online la divertente reazione di Ryan Gosling, co-star di Margot Robbie in Barbie, quando il premio alla miglior attrice viene consegnato a Emma Stone, sua partner in diversi film e in particolare in La La Land.

Ormai è quasi tutto stabilizzato con Oppenheimer favorito: eccettuati eventuali ribaltoni dell’ultimo minuto, Christopher Nolan potrebbe confermarsi titolare anche alla Notte degli Oscar. Domenica 25 febbraio il Producers’ Guild Award darà un segnale ulteriore, e domenica 10 marzo si terrà l’attesa assegnazione degli Academy Awards a Los Angeles, culmine della stagione dei premi 2024.

Ecco la lista completa dei vincitori della 77esima edizione dei BAFTA.

Miglior film

Oppenheimer di Christopher Nolan

Miglior film britannico

La zona d’interesse di Jonathan Glazer

Miglior esordio britannico

Savanah Leaf, Shirley O’Connor e Medb Riordan per Earth Mama

Miglior film in lingua non inglese

La zona d’interesse di Jonathan Glazer

Miglior documentario

20 Days in Mariupol di by Mstyslav Chernov

Miglior film d’animazione

Il ragazzo e l’airone di Hayao Miyazaki

Miglior regia

Christopher Nolan per Oppenheimer

Miglior sceneggiatura originale

Justine Triet e Arthur Harari per Anatomia di una caduta

Miglior sceneggiatura non originale

Cord Jefferson per American Fiction

Miglior attrice protagonista

Emma Stone per Povere Creature!

Miglior attore protagonista

Cillian Murphy per Oppenheimer

Miglior attrice non protagonista

Da’Vine Joy Randolph per The Holdovers – Lezioni di vita

Miglior attore non protagonista

Robert Downey Jr. per Oppenheimer

Miglior casting

Susan Shopmaker per The Holdovers – Lezioni di vita

Miglior fotografia

Hoyte van Hoytema per Oppenheimer

Miglior montaggio

Jennifer Lame per Oppenheimer

Migliori costumi

Holly Waddington per Povere Creature!

Miglior scenografia

Shona Heath, James Price e Zsuzsa Mihalek per Povere Creature!

Miglior trucco e acconciatura

Nadia Stacey, Mark Coulier e Josh Weston per Povere Creature!

Miglior colonna sonora

Ludwig Göransson per Oppenheimer

Miglior sonoro

Johnnie Burn e Tarn Willers per La zona d’interesse

Migliori effetti speciali e visivi

Simon Hughes per Povere Creature!

Miglior cortometraggio britannico d’animazione

Crab Day di Ross Stringer, Bartosz Stanislawek e Aleksandra Sykulak

Miglior cortometraggio britannico live action

Jellyfih and Lobster di Yasmin Afifi e Elizabeth Rufai

EE Rising Star (miglior esordiente)

Mia McKenna-Bruce

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Edoardo Borghesio e Enrico Borghesio,
Redattori.

February 19, 2024
Nomination Oscar 2024 – Oppenheimer, Garrone e poco Barbie

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Alle 14.30 italiane (5.30 di mattina a Los Angeles) di martedì 23 gennaio sono state annunciate le nomination ai premi Oscar 2024, rese note nel corso di una breve cerimonia condotta dagli attori Zazie Beetz e Jack Quaid. La breve conferenza stampa, solitamente orientata ai giornalisti, ha ricevuto grida entusiastiche da cheerleader da parte del pubblico dopo qualsiasi nome pronunciato.

Sembra proprio l’anno di Christopher Nolan: Oppenheimer è in testa con 13 nomination, seguito da 12 candidature per Povere creature!, 10 per Killers of the Flower Moon, 8 per Barbie che appare globalmente snobbata, e a seguire 7 per Maestro e 5 per il concorrente infiacchito Holdovers. Pur palese vincitrice ai Golden Globe, la pellicola di Alexander Payne perde terreno con le poche nomination acquisite.

Dalla stampa italiana leggerete esclusivamente della candidatura a miglior film internazionale di Matteo Garrone per Io Capitano, già Gran Premio della Giuria a Venezia. Tuttavia, le possibilità di vittoria a Los Angeles per l’Italia sono deboli, vista semplicemente la maggior esposizione anche ad altri premi di un candidato come il britannico La zona d’interesse. Sorprende invece Anatomia di una caduta: la pellicola francese vincitrice a Cannes è bella tronfia di nomination di primo piano nonostante la vistosa assenza dalla cinquina delle pellicole internazionali (la vera motivazione è che la Francia aveva scelto un’altro film per essere rappresentata in categoria, e non è stata selezionato).

Gli interpreti candidati fanno da campionario per tanti film presenti in quest’edizione: American Fiction, Barbie, Holdovers, Killers of The Flower Moon, Maestro, Nyad, Povere Creature! e Oppenheimer. Si apre un capitolo interessante sulla regia, dove il favorito appare Christopher Nolan, ma a far la storia è Martin Scorsese, che alla sua decima nomination è il regista più nominato di sempre e quello più anziano nella categoria. Ciononostante, Killers of the Flower Moon non sembra particolarmente favorito, se non forse sulla statuetta alla miglior attrice per Lily Gladstone.

Sembra uscire con le ossa rotte da questa corsa all’Oscar il fenomeno Barbie, che ha collezionato relativamente poche candidature, o quantomeno poco rilevanti, trovandosi escluse sia la regista Greta Gerwig che la protagonista Margot Robbie. Prevedibilissima invece la convocazione di Ryan Gosling col suo Ken non protagonista, seppur in contrasto con il più papabile Robert Downey Jr per Oppenheimer. Inaspettatamente America Ferrera guadagna una nomination come attrice non protagonista, mentre tra le canzoni se la giocano I’m Just Ken e Billie Eilish alla pari, con Dua Lipa fuori dai giochi.

Hayao Miyazaki conquista una candidatura con il suo Il ragazzo e l’airone, rivale del disneyano Elemental, del cinecomic multiversale Spider-Man: Across the Spider-Verse e di altri due indipendenti. Premiati con nomine in varie categorie perlopiù tecniche anche gli outsider come La società della neve, El Conde, The Creator, Napoleon, The Wonderful Story of Henry Sugar, Mission: Impossible e persino il deludente Indiana Jones, che ottiene grazie a John Williams (54° nomination, più di lui solo le 59 di Walt Disney!) un’ennesima candidatura alla colonna sonora. Esserci è già qualcosa per tanti di questi film.

La 96° Notte degli Oscar si terrà domenica 10 marzo 2023 presso la storica location del Dolby Theatre di Los Angeles. A condurre la cerimonia quest’anno sarà l’anchorman Jimmy Kimmel, maestro di cerimonie agli Oscar per la quarta volta nella sua carriera. Insistere col solito conduttore permette anche di preservare la picchiata di ascolti delle ultime edizioni, anche se dall’entusiasmo registrato in sala stampa nessuno sembra preoccuparsene. Il prossimo appuntamento importate dell’Award Season sono i BAFTA domenica 18 febbraio, oltre ai numerosi premi dei sindacati.

Ecco la lista completa delle Nomination agli Oscar 2024:

MIGLIOR FILM

American Fiction

Anatomia di una caduta

Barbie

The Holdovers

Killers of the Flower Moon

Maestro

Oppenheimer

Past Lives

Povere creature!

La zona d’interesse

MIGLIOR ATTORE PROTAGONISTA

Bradley Cooper (Maestro)

Colman Domingo (Rustin)

Paul Giamatti (The Holdovers)

Cillian Murphy (Oppenheimer)

Jeffrey Wright (American Fiction)

MIGLIOR ATTRICE PROTAGONISTA

Annette Bening (Nyad)

Lily Gladstone (Killers of the Flower Moon)

Sandra Hüller (Anatomia di una caduta)

Carey Mulligan (Maestro)

Emma Stone (Povere creature!)

MIGLIOR ATTORE NON PROTAGONISTA

Sterling K. Brown (American Fiction)

Robert De Niro (Killers of the Flower Moon)

Robert Downey Jr. (Oppenheimer)

Ryan Gosling (Barbie)

Mark Ruffalo (Povere creature!)

MIGLIOR ATTRICE NON PROTAGONISTA

Emily Blunt (Oppenheimer)

Danielle Brooks (Il colore viola)

Jodie Foster (Nyad)

America Ferrera (Barbie)

Da’Vine Joy Randolph (The Holdovers)

MIGLIOR REGISTA

Justine Triet (Anatomia di una caduta)

Jonathan Glazer (La zona d’interesse)

Yorgos Lanthimos (Povere creature!)

Christopher Nolan (Oppenheimer)

Martin Scorsese (Killers of the Flower Moon)

MIGLIOR SCENEGGIATURA ORIGINALE

Anatomia di una caduta

The Holdovers

Maestro

May December

Past Lives

MIGLIOR SCENEGGIATURA NON ORIGINALE

American Fiction

Barbie

La zona d’interesse

Oppenheimer

Povere creature!

MIGLIOR FILM ANIMATO

Il ragazzo e l’airone

Elemental

Nimona

Robot Dreams

Spider-Man: Across the Spider-Verse

MIGLIOR FOTOGRAFIA

El Conde

Killers of the Flower Moon

Maestro

Oppenheimer

Povere creature!

MIGLIOR TRUCCO & PARRUCCO

Golda

La società della neve

Maestro

Oppenheimer

Povere creature!

MIGLIOR MONTAGGIO

Anatomia di una caduta

The Holdovers

Killers of the Flower Moon

Oppenheimer

Povere creature!

MIGLIORI SCENOGRAFIE

Barbie

Killers of the Flower Moon

Napoleon

Oppenheimer

Povere creature!

MIGLIOR SONORO

Maestro

Oppenheimer

La zona d’interesse

Mission: Impossible – Dead Reckoning

The Creator

MIGLIORI COSTUMI

Barbie

Killers of the Flower Moon

Napoleon

Oppenheimer

Povere creature!

MIGLIOR CANZONE

It never went away da American Symphony

I’m Just Ken da Barbie

What was I made for? da Barbie

The Fire Inside da Flamin’ Hot

Wahzhazhe da Killers of the Flower Moon

MIGLIORI MUSICHE

American Fiction

Indiana Jones e il quadrante del destino

Killers of the Flower Moon

Oppenheimer

Povere creature!

MIGLIORI EFFETTI VISIVI

The Creator

Godzilla Minus One

Napoleon

Mission: Impossible – Dead Reckoning (Parte Uno)

Guardiani della galassia vol. 3

MIGLIOR FILM INTERNAZIONALE

Io, Capitano (Italia)

Perfect days (Giappone)

La società della neve (Spagna)

The Teachers’ Lounge (Germania)

La Zona d’interesse (Regno Unito)

MIGLIOR DOCUMENTARIO

Bobi Wine: The People’s President

The Eternal Memory

20 Days in Mariupol

Four Daughters

To Kill a Tiger

MIGLIOR CORTO DOCUMENTARIO

The ABCs of Book Banning

The Barber of Little Rock

Island in Between

The Last Repair Shop

Nǎi Nai & Wài Pó

MIGLIOR CORTO

The After

Invincible

The shepherd

Strange way of Life

The Wonderful Story of Henry Sugar

MIGLIOR CORTO ANIMATO

Letter to a pig

Ninety-Five Senses

Our Uniform

Pachyderme

War is Over! Inspired by the Music of John & Yoko

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Edoardo Borghesio e Enrico Borghesio,
Redattori.

January 24, 2024
Golden Globe 2024 – La notte di Oppenheimer
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Nella notte del 7 gennaio 2024 sono stati annunciati i vincitori dell’81esima edizione dei Golden Globe. Si tratta della prima edizione organizzata dalla Golden Globe Foundation, dopo lo scioglimento della Hollywood Foreign Press Association avvenuto nel 2023. La cerimonia non è stata trasmessa in diretta da nessun servizio italiano.

Per quanto riguarda il cinema, questa è senz’altro la notte di Oppenheimer. La pellicola di Christopher Nolan si aggiudica 5 premi: miglior film drammatico, la prima miglior regia di Nolan, il migliore attore protagonista drammatico a Cillian Murphy e il miglior attore non protagonista a Robert Downey Jr., e anche miglior colonna sonora a Ludwig Göransson.

L’altra protagonista del 2023, Barbie, ottiene il “premio di consolazione” del miglior film al boxoffice, e pure la canzone di Billie Eilish What was i made for?. Anche l’ultima fatica del maestro Martin Scorsese conquista una statuetta: Lily Gladstone è la migliore attrice drammatica per il suo ruolo in Killers of the Flower Moon.

Nella sezione commedia o musicale, Poor Things di Yorgos Lanthimos è eletto miglior film e la sua protagonista Emma Stone miglior attrice. Il suo principale rivale era The Holdovers, che conquista le statuette di recitazione al miglior attore protagonista per Paul Giamatti e alla migliore attrice non protagonista a Da’Vine Joy Randolph.

Gli altri premi cinematografici vanno ad Il ragazzo e l’airone di Hayao Miyazaki per l’animazione e ad Anatomia di una caduta, che porta a casa i premi alla miglior sceneggiatura e al miglior film in lingua non inglese: la pellicola di Justine Triet vince per la Francia, battendo anche l’Italia che era rappresentata da Io Capitano di Matteo Garrone.

Passiamo alla televisione, dove sostanzialmente la quarta stagione di Succession e la seconda di The Bear si spartiscono tutti i premi nelle rispettive categorie di drama e commedia o musicale, più Beef che piglia tutto nella sezione serie limitata.

Succession è incoronata nuovamente miglior serie drammatica, convalidata dai premi nella l recitazione assegnati a Kieran Culkin, Sarah Snook e il supporting di Matthew MacFadyen. The Bear si ri-conferma miglior serie commedia o musicale coi suoi protagonisti Jeremy Allen White e Ayo Edebiri. Miniserie e suoi interpreti premiati sono tutti provenienti da Beef: Steven Yeun e Ali Wong.

Le uniche due eccezioni a questi due assi sono Elizabeth Debicki che vince per la sua principessa Diana in The Crown 6 e l’irriverente Ricky Gervais che viene eletto miglior attore in uno spettacolo televisivo per il suo show Armageddon.

Oppenheimer guida dunque l’elenco dei vincitori con 5 statuette, seguito dalla serie Succession con 4 premi. Rimangono relativamente a bocca asciutta Barbie e Killers of the Flower Moon con premi minori, ma almeno non fanno la fine di Maestro di Bradley Cooper che viene completamente snobbato dai Globes. Stesso discorso si può fare in ambito televisivo con altre serie già vincitrici in edizioni precedenti oppure promosse dalla critica come Ted Lasso e The Last of Us.

Che Emmy Awards per la tv e i fatidici Oscar per il cinema ribaltino la situazione? La cerimonia dei primi si terrà il 15 gennaio, mentre le nomination degli Academy Awards saranno annunciate il 23 gennaio in vista della premiazione fissata al 10 marzo.

Ecco la lista completa dei candidati con evidenziati i vincitori dell’edizione 2024 dei Golden Globe.

Miglior film drammatico

Oppenheimer, regia di Christopher Nolan

Anatomia di una caduta (Anatomie d’une chute), regia di Justine Triet

Killers of the Flower Moon, regia di Martin Scorsese

Maestro, regia di Bradley Cooper

Past Lives, regia di Celine Song

La zona d’interesse (The Zone of Interest), regia di Jonathan Glazer

Miglior film commedia o musicale

Povere creature! (Poor Things), regia di Yorgos Lanthimos

Air – La storia del grande salto (Air), regia di Ben Affleck

American Fiction, regia di Cord Jefferson

Barbie, regia di Greta Gerwig

The Holdovers – Lezioni di vita (The Holdovers), regia di Alexander Payne

May December, regia di Todd Haynes

Miglior regista

Christopher Nolan – Oppenheimer

Bradley Cooper – Maestro

Greta Gerwig – Barbie

Yorgos Lanthimos – Povere creature! (Poor Things)

Martin Scorsese – Killers of the Flower Moon

Celine Song – Past Lives

Migliore attore in un film drammatico

Cillian Murphy – Oppenheimer

Bradley Cooper – Maestro

Leonardo DiCaprio – Killers of the Flower Moon

Colman Domingo – Rustin

Barry Keoghan – Saltburn

Andrew Scott – Estranei (All of Us Strangers)

Migliore attrice in un film drammatico

Lily Gladstone – Killers of the Flower Moon

Annette Bening – Nyad – Oltre l’oceano (Nyad)

Sandra Hüller – Anatomia di una caduta (Anatomie d’une chute)

Greta Lee – Past Lives

Carey Mulligan – Maestro

Cailee Spaeny – Priscilla

Migliore attore in un film commedia o musicale

Paul Giamatti – The Holdovers – Lezioni di vita (The Holdovers)

Nicolas Cage – Dream Scenario – Hai mai sognato quest’uomo? (Dream Scenario)

Timothée Chalamet – Wonka

Matt Damon – Air – La storia del grande salto (Air)

Joaquin Phoenix – Beau ha paura (Beau Is Afraid)

Jeffrey Wright – American Fiction

Migliore attrice in un film commedia o musicale

Emma Stone – Povere creature! (Poor Things)

Fantasia Barrino – Il colore viola (The Color Purple)

Jennifer Lawrence – Fidanzata in affitto (No Hard Feelings)

Natalie Portman – May December

Alma Pöysti – Foglie al vento

Margot Robbie – Barbie

Migliore attore non protagonista

Robert Downey Jr. – Oppenheimer

Willem Dafoe – Povere creature! (Poor Things)

Robert De Niro – Killers of the Flower Moon

Ryan Gosling – Barbie

Charles Melton – May December

Mark Ruffalo – Povere creature! (Poor Things)

Migliore attrice non protagonista

Da’Vine Joy Randolph – The Holdovers – Lezioni di vita (The Holdovers)

Emily Blunt – Oppenheimer

Danielle Brooks – Il colore viola (The Color Purple)

Jodie Foster – Nyad – Oltre l’oceano (Nyad)

Julianne Moore – May December

Rosamund Pike – Saltburn

Miglior film in lingua straniera

Anatomia di una caduta (Anatomie d’une chute), regia di Justine Triet (Francia)

Foglie al vento (Kuolleet lehdet), regia di Aki Kaurismäki (Finlandia)

Io capitano, regia di Matteo Garrone (Italia)

Past Lives, regia di Celine Song (Stati Uniti)

La società della neve (La sociedad de la nieve), regia di Juan Antonio Bayona (Spagna)

La zona d’interesse (The Zone of Interest), regia di Jonathan Glazer (Regno Unito/Polonia/Stati Uniti)

Miglior film d’animazione

Il ragazzo e l’airone (君たちはどう生きるか), regia di Hayao Miyazaki

Elemental, regia di Peter Sohn

Spider-Man: Across the Spider-Verse, regia di Joaquim Dos Santos, Kemp Powers e Justin K. Thompson

Super Mario Bros. – Il film (The Super Mario Bros. Movie), regia di Aaron Horvath e Michael Jelenic

Suzume, regia di Makoto Shinkai

Wish, regia di Chris Buck e Fawn Veerasunthorn

Migliore sceneggiatura

Justine Triet e Arthur Harari – Anatomia di una caduta (Anatomie d’une chute)

Greta Gerwig e Noah Baumbach – Barbie

Tony McNamara – Povere creature! (Poor Things)

Christopher Nolan – Oppenheimer

Eric Roth e Martin Scorsese – Killers of the Flower Moon

Celine Song – Past Lives

Migliore colonna sonora originale

Ludwig Göransson – Oppenheimer

Jerskin Fendrix – Povere creature! (Poor Things)

Joe Hisaishi – Il ragazzo e l’airone (君たちはどう生きるか)

Mica Levi – La zona d’interesse (The Zone of Interest)

Daniel Pemberton – Spider-Man: Across the Spider-Verse

Robbie Robertson – Killers of the Flower Moon

Migliore canzone originale

What Was I Made For? (Billie Eilish O’Connell e Finneas O’Connell) – Barbie

Addicted to Romance (Bruce Springsteen) – She Came to Me

Dance the Night (Mark Ronson, Andrew Wyatt, Dua Lipa e Caroline Ailin) – Barbie

I’m Just Ken (Mark Ronson e Andrew Wyatt) – Barbie

Peaches (Jack Black, Aaron Horvath, Michael Jelenic, Eric Osmond e John Spiker) – Super Mario Bros. – Il film (The Super Mario Bros. Movie)

Road to Freedom (Lenny Kravitz) – Rustin

Miglior incasso al botteghino

Barbie, regia di Greta Gerwig

Guardiani della Galassia Vol. 3 (Guardians of the Galaxy Vol. 3), regia di James Gunn

John Wick 4 (John Wick: Chapter 4), regia di Chad Stahelski

Mission: Impossible – Dead Reckoning – Parte uno (Mission: Impossible – Dead Reckoning – Part One), regia di Christopher McQuarrie

Oppenheimer, regia di Christopher Nolan

Spider-Man: Across the Spider-Verse, regia di Joaquim Dos Santos, Kemp Powers e Justin K. Thompson

Super Mario Bros. – Il film (The Super Mario Bros. Movie), regia di Aaron Horvath e Michael Jelenic

Taylor Swift: The Eras Tour, regia di Sam Wrench

Miglior serie drammatica

Succession

1923

The Crown

The Diplomat

The Last of Us

The Morning Show

Migliore attore in una serie drammatica

Kieran Culkin – Succession

Brian Cox – Succession

Gary Oldman – Slow Horses

Pedro Pascal – The Last of Us

Jeremy Strong – Succession

Dominic West – The Crown

Miglior attrice in una serie drammatica

Sarah Snook – Succession

Helen Mirren – 1923

Bella Ramsey – The Last of Us

Keri Russell – The Diplomat

Imelda Staunton – The Crown

Emma Stone – The Curse

Miglior serie commedia o musicale

The Bear

Abbott Elementary

Barry

Jury Duty

Only Murders in the Building

Ted Lasso

Migliore attore in una serie commedia o musicale

Jeremy Allen White – The Bear

Bill Hader – Barry

Steve Martin – Only Murders in the Building

Jason Segel – Shrinking

Martin Short – Only Murders in the Building

Jason Sudeikis – Ted Lasso

Migliore attrice in una serie commedia o musicale

Ayo Edebiri – The Bear

Rachel Brosnahan – La fantastica signora Maisel (The Marvelous Mrs. Maisel)

Quinta Brunson – Abbott Elementary

Elle Fanning – The Great

Selena Gomez – Only Murders in the Building

Natasha Lyonne – Poker Face

Miglior miniserie o film televisivo

Lo scontro (Beef)

Tutta la luce che non vediamo (All the Light We Cannot See)

Daisy Jones & The Six

Fargo

Compagni di viaggio (Fellow Travelers)

Lessons in Chemistry

Migliore attore in una miniserie o film televisivo

Steven Yeun – Lo scontro

Matt Bomer – Compagni di viaggio (Fellow Travelers)

Sam Claflin – Daisy Jones & The Six

Jon Hamm – Fargo

Woody Harrelson – Infiltrati alla Casa Bianca – White House Plumbers

David Oyelowo – Lawmen – La storia di Bass Reeves

Migliore attrice in una miniserie o film televisivo

Ali Wong – Lo scontro (Beef)

Riley Keough – Daisy Jones & The Six

Brie Larson – Lessons in Chemistry

Elizabeth Olsen – Love & Death

Juno Temple – Fargo

Rachel Weisz – Dead Ringers

Migliore attore non protagonista

Matthew Macfadyen – Succession

Billy Crudup – The Morning Show

James Marsden – Jury Duty

Ebon Moss-Bachrach – The Bear

Alan Ruck – Succession

Alexander Skarsgård – Succession

Migliore attrice non protagonista

Elizabeth Debicki – The Crown

Abby Elliott – The Bear

Christina Ricci – Yellowjackets
1. Smith-Cameron – Succession
Meryl Streep – Only Murders in the Building

Hannah Waddingham – Ted Lasso

Miglior comico stand-up

Ricky Gervais – Ricky Gervais: Armageddon

Trevor Noah – Trevor Noah: Where Was I

Chris Rock – Chris Rock: Selective Outrage

Amy Schumer – Amy Schumer: Emergency Contact

Sarah Silverman – Sarah Silverman: Someone You Love

Wanda Sykes – Wanda Sykes: I’m an Entertainer

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Edoardo Borghesio e Enrico Borghesio,
Redattori.
January 8, 2024
Top 10 2023 – Frames Cinema Awards
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Anche quest’anno non poteva mancare il nostro articolo sui Frames Cinema Awards, uno spazio in cui vi sveliamo la nostra Top 10 di redazione e riflettiamo, brevemente, su questo 2023 cinematografico.

Nell’annata appena passata la sala cinematografica italiana ha continuato ad essere viva e vegeta, ottenendo dei risultati al botteghino migliori dello scorso anno. Un contributo significativo a questo risultato lo dobbiamo sicuramente al film C’è ancora domani, debutto alla regia di Paola Cortellesi, opera che anche noi di Frames abbiamo amato e che per un soffio non è entrata nella nostra Top 10. La Cortellesi ha saputo attirare in sala un pubblico incredibilmente diversificato, spaziando dal più agguerrito cinefilo fino allo spettatore più restio ad andare al cinema. Il suo film, pur affrontando una tematica seria e urgente, riesce a non precipitare mai nella retorica fine a se stessa: grazie ad una padronanza della macchina da presa degna di una regista esperta, mantiene alta l’attenzione dello spettatore, fino al meraviglioso finale che ci ha fatto tutti emozionare. Noi non vediamo l’ora di guardare il suo prossimo film da regista e nel frattempo non possiamo che essere felici del fatto che la sua opera prima sia il film con il più alto incasso in Italia nel 2023.

Ecco infatti i 10 film con il più alto incasso in Italia nell’anno appena concluso:
1. C’è ancora domani (Paola Cortellesi, ITA, 32.46 milioni);
2. Barbie (Greta Gerwig, USA/GBR, 32.12 milioni);
3. Oppenheimer (Christopher Nolan, USA, 27.99 milioni);
4. Super Mario Bros – Il film (Aaron Horvath e Michael Jelenic, USA, 20.42 milioni);
5. Avatar – La via dell’acqua (James Cameron, USA, 17.21 milioni);
6. La Sirenetta (Rob Marshall, USA, 12.03 milioni);
7. Fast X (Louis Leterrier, USA/GBR, 11.83 milioni);
8. Guardiani della galassia 3 (James Gunn, USA, 19.92 milioni);
9. Wonka (Paul King, USA/GBR, 9.01 milioni);
10. Assassinio a Venezia (Kenneth Branagh, USA, 8.67 milioni);
Quest’anno abbiamo anche assistito, a livello internazionale, ad un fenomeno di marketing che ha unito le major hollywoodiane e le pagine di meme: il Barbenheimer. La decisione di distribuire due blockbuster come Barbie di Greta Gerwig e Oppenheimer di Christopher Nolan lo stesso giorno è stata senza dubbio una mossa audace, a tratti quasi folle: nonostante il pubblico a cui puntavano fosse evidentemente diverso, il rischio di sottrarsi spettatori a vicenda era decisamente alto. Tuttavia questa scelta si è rivelata azzeccata, anche grazie (soprattutto?) al passaparola online e alle centinaia di meme, con tanti spettatori che hanno addirittura deciso di prenotare in anticipo i biglietti per entrambi i film da guardare nello stesso giorno. Alla fine Barbie è stato, tra i due, il film che ha avuto più successo dal punto di vista commerciale, ma Oppenheimer è diventato uno dei film con i guadagni più alti di sempre dell’intera filmografia di Christopher Nolan: un traguardo gigantesco.

Questo è stato, senza dubbio, l’anno del grande flop dei Blockbuster Disney. Molti dei film più attesi dal grandissimo pubblico sono stati infatti un flop al botteghino e, spesso, anche un flop per la critica specializzata. Stiamo parlando degli ultimi film Marvel, che hanno mostrato ancora una volta un declino veloce e apparentemente inesorabile di un brand che fino a due anni fa sembrava inarrestabile, ma anche del ritorno sul grande schermo di Harrison Ford nei panni di Indiana Jones, per non parlare poi degli ultimi film Pixar e Disney (rispettivamente Elemental e Wish) che non hanno convinto quasi nessuno. La sensazione è che la Major si sia adagiata sull’importanza del marchio e sulla riuscita (quantomeno economica) dei film precedenti, ricevendo però una risposta chiarissima da parte degli spettatori. Noi speriamo di vedere nei prossimi anni dei blockbuster che riescano ancora a stupirci, e che il filone dei film supereroistici possa riprendersi, magari puntando più sulla qualità piuttosto che sulla quantità. Non ci resta che attendere e sperare in James Gunn, che ricordiamo essere diventato il nuovo direttore dei film tratti dai DC Comics.

Il 2023 è stato un anno difficile non solo per Disney, ma per tutte le Major Hollywoodiane, a causa di due tra gli scioperi più lunghi e significativi della storia di questa industria, quello degli attori e quello degli sceneggiatori. Durati entrambi diversi mesi, alla fine si è riusciti a raggiungere un accordo che sembra accontentare entrambe le parti sebbene, sulla questione più scottante di tutte, ovvero l’intelligenza artificiale, avrà una durata di pochi anni. L’impressione è che ci troviamo di fronte ad una tecnologia che avanza ad una velocità a cui l’essere umano non era mai stato abituato, e dunque non è difficile immaginare che altre proteste e/o scioperi simili a quelle che si sono verificate quest’anno arriveranno già durante questo decennio. Nel frattempo, a causa di questi scioperi, molte tra serie tv e film sono stati rimandati di diversi mesi, suscitando spesso le critiche dei fan che, purtroppo, spesso erano indirizzate agli scioperanti, preoccupati del loro presente e del loro futuro, e non alle major che li tenevano (e li tengono, in parte) in pugno.

Infine, prima di proporvi la nostra classifica, vogliamo dedicare qualche riga a quei film che, purtroppo, non sono entrati in classifica perché troppi pochi redattori sono riusciti a guardarli durante l’anno, spesso a causa di una distribuzione molto limitata. Partiamo con Great Freedom, film austriaco del 2021 arrivato in Italia soltanto a gennaio 2023 su MUBI, vincitore nel 2021 del premio della giuria Un Certain Regard al Festival di Cannes, con un meraviglioso Franz Rogowski, uno dei migliori attori europei contemporanei che grazie a questo film ha vinto anche il premio per il miglior attore al Torino Film Festival del 2021. Rimanendo in Europa non potevamo non citare Animali Selvatici, l’ultimo film del regista romeno Cristian Mungiu, che si conferma ancora una volta come uno dei più interessanti autori a livello internazionale, e che se non conoscete vi invitiamo a riscoprire, e Foglie al vento di Aki Kaurismaki, uscito da poche settimane nelle sale, è il ritorno al cinema di un regista che a parere di quasi tutti ha, ancora una volta, fatto centro. E poi ancora Holy Spider, thriller di Ali Abbasi ispirato alla storia vera del serial killer iraniano Saeed Hananei, Inu-Oh, il più innovativo e visionario film d’animazione dell’anno che mescola storia e musica del periodo Muromachi giapponese (1336 – 1573), Leila e i suoi fratelli, film iraniano di Saeed Roustayi che ha ricevuto una forte censura nel suo paese d’origine per le critiche presenti al governo del paese, Nimona, altro film d’animazione distribuito da Netflix che mescola uno stile originale a tematiche complesse messe in scena con originalità, e per chiudere, il lascito di quel genio che è stato William Friedkin: The Caine Mutiny Court-Martial, disponibile su Paramount+.

Eccoci finalmente alle classifiche! Partiamo con la Top 10 scelta dai nostri follower Instagram tramite una serie di sondaggi fatti nella seconda metà di dicembre. A vincere è stato l’ultimo film di Martin Scorsese, un’opera monumentale che abbiamo analizzato a fondo nella nostra puntata podcast dedicata:
1. Killers of the flower Moon (Martin Scorsese, disponibile su noleggio);
2. Oppenheimer (Christopher Nolan, disponibile su noleggio);
3. Gli spiriti dell’isola (Martin McDonagh, disponibile su Disney+);
4. Babylon (Damien Chazelle, disponibile su Sky e Paramount+);
5. La chimera (Alice Rohrwacher, non disponibile in streaming);
6. Spider Man: Across the Spider-verse (Kemp Powers, Justin K. Thompson e Joaquim Dos Santos, disponibile su Prime Video);
7. Beau ha paura (Ari Aster, disponibile su iWonderfull canale Prime Video);
8. Decision to Leave (Park Chan-wook, disponibile su Sky);
9. The Whale (Darren Aronofsky, disponibile su Paramount+);
10. Tar (Todd Field, disponibile su Sky);
Infine, prima di svelare la tanto attesa Top 10 di redazione, vi spieghiamo in breve i criteri usati per redigerla. Ogni redattore ha avuto il compito di assegnare ad ogni film visto uscito in Italia (in sala o nelle piattaforme) durante l’anno 2023 un voto da 1 a 100. Dopodiché, ad ogni film veniva anche assegnato un punteggio bonus derivante dalle top 10 di ogni redattore (10 punti al primo, 9 punti al secondo, 1 punto al decimo…). Il bonus si sommava con la media voto del film, ricavando così il punteggio finale.
1. Gli spiriti dell’isola (Martin McDonagh, disponibile su Disney+) – 220,10
2. Oppenheimer (Christopher Nolan, disponibile su noleggio) – 211,69
3. Killers of the Flower Moon (Martin Scorsese, disponibile su noleggio) – 180,75
4. Decision to Leave (Park Chan-wook, disponibile su Sky) – 156,70
5. Babylon (Damien Chazelle, disponibile su Sky e Paramount+) – 155,94
6. Tar (Todd Field, disponibile su Sky) – 142,67
7. Spider-Man: Across the Spider-verse (Kemp Powers, Justin K. Thompson e Joaquim Dos Santos, disponibile su Prime Video) – 136,86
8. Anatomia di una caduta (Justine Triet, non disponibile in streaming) – 127,60
9. Aftersun (Charlotte Wells, disponibile su Mubi) – 125,88
10. L’ultima notte di Amore (Andrea Di Stefano, disponibile su Prime) – 125,57
Per concludere, volevamo ringraziare tutti coloro che in questo 2023 ci hanno seguito. Grazie soprattutto ai lettori di questo sito, che in un anno sono più che raddoppiati, e grazie anche a chi ascolta il nostro podcast Strade Perdute, che quest’anno ha registrato una crescita vertiginosa: coloro che ci seguono sono la benzina che porta avanti questa piccola associazione. Grazie.

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Rosario Azzaro,
Caporedattore.
January 2, 2024
Golden Globe 2024 – Le nomination

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Lunedì 11 dicembre sono state annunciate le nomination di cinema e tv dei Golden Globe, con cerimonia di premiazione fissata al 7 gennaio 2024 al Beverly Hills Hotel di Los Angeles.

Questa 81esima edizione sarà la prima successiva alla dissoluzione della Hollywood Foreign Press Association che prima assegnava i premi. L’associazione che raggruppava i rappresentanti della stampa straniera a Hollywood infatti è stata travolta negli scorsi anni da diversi scandali che ne hanno denunciato la discriminazione e i favoritismi interni, portando a una serie di insuccessi dell’evento, ora nuovamente garantito dalla fondazione no profit Golden Globe.

Il cambio di gestione ha portato qualche novità, con l’istituzione di due nuove categorie di premiazione, quella per il miglior spettacolo di stand-up e quella per il miglior risultato al box office. Quest’ultima in particolare (che vede candidati film come Barbie e Oppenheimer ma anche titoli come The Super Mario Bros. Movie e Taylor Swift: The Eras Tour) ha suscitato perplessità dal momento che l’incasso è un dato oggettivo, perciò non è chiaro quali altri possano essere i criteri per l’assegnazione del premio.

A dominare la sezione cinematografica è Barbie di Greta Gerwig con 9 nomination di cui 3 per le canzoni, seguito a ruota da Oppeheimer di Christopher Nolan e Povere creature di Yorgos Lanthimos rispettivamente con 7 e 8 candidature. Per quanto riguarda la televisione invece, il maggior numero di nomination lo conquista Succession con 9 candidature, staccando pesantemente The Bear e Only Murders in the Building con 5 ciascuno.

Sul fronte cinematografico è interessante sottolineare da un lato lo strapotere dei blockbuster di quest’anno e specialmente del fenomeno Barbenheimer, e dall’altro il riconoscimento ai festival di Cannes e Venezia, con la presenza in gara sia del film vincitore della Palma d’oro Anatomia di una caduta sia del vincitore del Leone d’oro Povere creature.

Grande soddisfazione per l’Italia, che vede Io capitano di Matteo Garrone in corsa per il miglior film straniero dopo aver già vinto il Leone d’argento per la miglior regia ed essere stato scelto per rappresentare l’Italia anche agli Oscar 2024 le cui nomination verranno annunciate il 23 gennaio. L’Awards Season è iniziata!

Ecco tutte le nomination dei Golden Globes 2024:

FILM

Miglior film drammatico

Anatomia di una caduta
Killers of the Flower Moon
Maestro
Oppenheimer
Past Lives
La zona d’interesse

Miglior film comico o musical

Air
American Fiction
Barbie
The Holdovers
May December
Povere creature

Miglior regia di film

Bradley Cooper, Maestro
Greta Gerwig, Barbie
Yorgos Lanthimos, Povere creature
Christopher Nolan, Oppenheimer
Martin Scorsese, Killers of the Flower Moon
Celine Song, Past Lives

Miglior sceneggiatura di film

Barbie
Povere creature
Oppenheimer
Killers of the Flower Moon
Past Lives
Anatomia di una caduta

Miglior risultato al botteghino

Barbie
Guardians of the Galaxy: Vol. 3
John Wick: Chapter 4
Mission: Impossible — Dead Reckoning
Oppenheimer
Spider-Man: Across the Spider-Verse
The Super Mario Bros. Movie
Taylor Swift: The Eras Tour

Miglior attrice in un film drammatico

Annette Bening, Nyad
Lily Gladstone, Killers of the Flower Moon
Sandra Hüller, Anatomia di una caduta
Greta Lee, Past Lives
Carey Mulligan, Maestro
Cailee Spaeny, Priscilla

Miglior attore in un film drammatico

Bradley Cooper, Maestro
Leonardo DiCaprio, Killers of the Flower Moon
Colman Domingo, Rustin
Barry Keoghan, Saltburn
Cillian Murphy, Oppenheimer
Andrew Scott, All of Us Strangers

Miglior attrice in un film comico o musical

Fantasia Barrino, The Color Purple
Jennifer Lawrence, No Hard Feelings
Natalie Portman, May December
Alma Pöysti, Foglie al vento
Margot Robbie, Barbie
Emma Stone, Povere creature

Miglior attore in un film comico o musical

Nicolas Cage, Dream Scenario
Timothée Chalamet, Wonka
Matt Damon, Air
Paul Giamatti, The Holdovers
Joaquin Phoenix, Beau Is Afraid
Jeffrey Wright, American Fiction

Miglior attrice non protagonista in un film

Emily Blunt, Oppenheimer
Danielle Brooks, The Color Purple
Jodie Foster, Nyad
Julianne Moore, May December
Rosamund Pike, Saltburn
Da’Vine Joy Randolph, The Holdovers

Miglior attore non protagonista in un film

Willem Dafoe, Povere creature
Robert De Niro, Killers of the Flower Moon
Robert Downey, Jr., Oppenheimer
Ryan Gosling, Barbie
Charles Melton, May December
Mark Ruffalo, Povere creature

Miglior film d’animazione

Il ragazzo e l’airone
Elemental
Spider-Man: Across the Spider-Verse
The Super Mario Bros. Movie
Suzume
Wish

Miglior film straniero

Anatomia di una caduta
Foglie al vento
Io Capitano
Past Lives
La società della neve
La zona d’interesse

Miglior colonna sonora originale di un film

Povere creature
Oppenheimer
Il ragazzo e l’airone
La zona d’interesse
Spider-Man: Across the Spider-Verse
Killers of the Flower Moon

Migliore canzone di un film

“Addicted to Romance,” She Came to Me
“Dance the Night,” Barbie
“I’m Just Ken,” Barbie
“Peaches,” The Super Mario Bros. Movie
“Road to Freedom,” Rustin
“What Was I Made For?,” Barbie

SERIE TV

Miglior serie drammatica

1923
The Crown
The Diplomat
The Morning Show
Succession

Miglior serie comica

Abbott Elementary
Barry
The Bear
Jury Duty
Only Murders in the Building
Ted Lasso

Miglior attrice in una serie drammatica

Helen Mirren, 1923
Bella Ramsey, The Last of Us
Keri Russell, The Diplomat
Sarah Snook, Succession
Imelda Staunton, The Crown
Emma Stone, The Curse

Miglior attore in una serie drammatica

Brian Cox, Succession
Kieran Culkin, Succession
Gary Oldman, Slow Horses
Pedro Pascal, The Last of Us
Jeremy Strong, Succession
Dominic West, The Crown

Migliore attrice in una serie comica

Ayo Edebiri, The Bear
Natasha Lyonne, Poker Face
Quinta Brunson, Abbott Elementary
Rachel Brosnahan, The Marvelous Mrs. Maisel
Selena Gomez, Only Murders in the Building
Elle Fanning, The Great

Miglior attore in una serie comica

Bill Hader, Barry
Steve Martin, Only Murders in the Building
Jason Segel, Shrinking
Martin Short, Only Murders in the Building
Jason Sudeikis, Ted Lasso
Jeremy Allen White, The Bear

Miglior miniserie o film tv

Tutta la luce che non vediamo
Beef
Daisy Jones and the Six
Fargo
Fellow Travelers – Compagni di viaggio
Lezioni di Chimica

Miglior attore in una miniserie o film tv

Matt Bomer, Fellow Travelers – Compagni di viaggio
Sam Claflin, Daisy Jones and the Six
Jon Hamm, Fargo
Woody Harrelson, White House Plumbers
David Oyelowo, Lawmen: Bass Reeves
Steven Yeun, Beef

Miglior attrice in una miniserie o film tv

Riley Keough, Daisy Jones and the Six
Brie Larson, Lezioni di chimica
Elizabeth Olsen, Love and Death
Juno Temple, Fargo
Rachel Weisz, Dead Ringers
Ali Wong, Beef

Miglior attrice non protagonista in una serie tv

Elizabeth Debicki, The Crown
Abby Elliott, The Bear
Christina Ricci, Wednesday
J. Smith Cameron, Succession
Meryl Streep, Only Murder in the Building
Hannah Waddingham, Ted Lasso

Miglior attore non protagonista in una serie tv

Billy Crudup, The Morning Show
Matthew MacFadyen, Succession
James Marsden, Jury Duty
Ebon Moss Bachrach, The Bear
Alan Ruck, Succession
Alexander Skarsgaard, Succession

Miglior stand-up comedy

Ricky Gervais
Trevor Noah
Chris Rock
Amy Schumer
Sarah Silverman
Wanda Sykes

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Enrico Borghesio,
Redattore.

December 12, 2023
Obbedire all’autorità – Stanley Milgram e Robert Oppenheimer

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È il 1961, lo psicologo statunitense Stanley Milgram, memore degli eventi accaduti durante la Seconda Guerra Mondiale, pone un quesito che cambierà l’intera storia della psicologia: i soldati nazisti erano realmente delle persone senza scrupoli o si comportavano come tali per obbedire agli ordini dei superiori? È possibile che qualcuno si senta in dovere di rispettare l’autorità anche quando gli viene ordinato di commettere azioni che vanno contro i propri principi morali? Solo qualche mese prima stava iniziando il processo a Gerusalemme contro Adolf Eichmann.

L’esperimento

Nell’agosto 1961, Milgram spedisce alcuni annunci in cui chiedeva a persone comuni di partecipare a un “esperimento sulla memoria”, e una volta raggiunto un numero adeguato di candidati, si approccia a mettere in atto il suo piano. Ora immaginate di essere voi una delle cavie: Milgram vi conduce all’interno di una stanza e vi piazza davanti al pannello di controllo di un quadro elettrico con tanto di interruttori e leve. Il vostro compito è quello di “interrogare” un’altra persona, situato in un’altra stanza, dettando alcune coppie di parole che “l’allievo” avrebbe poi dovuto ripetere alla perfezione, senza possibilità di sbagliare. In caso di errori, il vostro compito è quello di punire l’allievo, infliggendo una scossa elettrica che aumenta di intensità man mano che gli errori si fanno più frequenti. Una vera e proprio tortura quindi, legittimata ed esortata dallo stesso Milgram che, presente nella vostra stanza, vi ordina di continuare per non mettere a rischio l’importanza dell’esperimento. L’allievo continua a sbagliare e voi continuate, a malincuore, ad infliggere scariche elettriche, mentre dall’altra stanza arrivano urla di dolore, pianti, suppliche di smettere, e alla fine un tonfo seguito da un inquietante silenzio. Ogni tanto vi voltate verso Milgram, dubbiosi e in conflitto con voi stessi, vi chiedete se tutto questo sia necessario mentre lamenti di dolore provengono dall’altra stanza, ma lo sperimentatore è impassibile e vi ordina “non ha scelta, deve continuare o l’esperimento fallirà!”. Milgram vi ha messo alla prova, ha spinto i candidati al limite della loro resistenza psicologica e li ha praticamente costretto a torturare una persona innocente, facendo leva sulla sua autorità. Pur in conflitto con la propria moralità, un’alta percentuale di cavie ha agito obbedendo agli ordini, così da diventare un semplice strumento del superiore per esercitare il proprio potere.

Il legame con Oppenheimer

L’ultima opera di Christopher Nolan uscita questa estate non poteva evitare di occuparsi delle dinamiche di potere che si fanno più evidenti durante un periodo complesso come quello della Seconda Guerra Mondiale. Il fisico J Robert Oppenheimer, direttore del progetto per la creazione della bomba atomica, si colloca in una posizione particolare per quanto riguarda i rapporti tra autorità all’interno del film. È a capo del laboratorio di ricerca, a lui si devono rivolgere tutti i collaboratori del progetto Manhattan: all’interno di Los Alamos Oppenheimer è l’autorità massima. Eppure, il film ci rivela man mano che Robert è soltanto un pesce piccolo al servizio di un pesce più grande; in lui è riposta la fiducia per la risoluzione del conflitto, tuttavia la sua è solo un’illusione di autorità. Il personaggio del generale Groves incarna il potere superiore a cui Oppenheimer è costretto a obbedire, a qualunque costo: la necessità di mettere fine alla guerra e sconfiggere i giapponesi vengono continuamente rimarcate dalle autorità militari, così che Oppenheimer si senta praticamente costretto a portare avanti il progetto nonostante la sua coscienza stia iniziando a rendersi conto delle implicazioni morali di questa difficile scelta.

Oppenheimer è voi, ignare cavie dell’esperimento, illusi di avere in mano un qualche tipo potere sugli altri ma completamente sottoposti a chi è sopra di voi, lo sperimentatore che vi intima di continuare a premere quei tasti sul quadro elettrico. Ogni passo che Oppenheimer compie verso la realizzazione dell’atomica, dalle lavagne riempite di formule ai primi test, altro non è che le scosse elettriche da voi inflitte durante l’esperimento di Milgram. Oppenheimer ha fatto ciò che gli era stato chiesto di fare in virtù di un bene superiore, così come voi povere cavie avete obbedito agli ordini dello sperimentatore, scegliendo di ignorare la propria coscienza e tappandovi le orecchie davanti alle urla di dolore di chi si trova dall’altra parte (della storia).

Ciò che lo psicologo non vi ha mai detto, però, è che dietro quel muro non c’è uno sfortunato allievo con elettrodi attaccati su tutto il corpo, bensì un attore pagato per fingere lamenti, grida e svenimenti. Le scariche da voi inflitte non sono mai andate a colpire un essere umano, tuttavia avrebbero potuto farlo. E voi non avete fatto nulla per sottrarvi all’azione. Milgram vi ha ingannati per dimostrare al mondo un’importante verità: in presenza di un’autorità forte in grado di dare ordini, il sottoposto non riesce più a considerarsi libero di agire con la propria testa, ma diventa uno strumento al servizio dell’autorità.

Robert Oppenheimer deve continuare l’esperimento, non ha più scelta.

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Renata Capanna,
Redattrice.

October 17, 2023