FRAMES CINEMA

Tag: paolo virzì

  • Recensione Cinque secondi – La cura attraverso un incontro generazionale

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    Dopo due produzioni corali come Siccità e Un altro Ferragosto, Paolo Virzì torna in sala con Cinque secondi, un lungometraggio molto più intimo e a tratti cupo.

    Presentato alla 20ª edizione della Festa del cinema di Roma, il film racconta la storia di Adriano Sereni (Valerio Mastandrea), avvocato di successo che, travolto da un profondo dolore personale, decide di rintanarsi nelle scuderie di un’antica villa toscana. La solitudine tanto anelata sarà minata da alcuni giovani che si insedieranno nella tenuta per ripristinare i vigneti circostanti trascurati. Il rapporto con Matilde (Galatéa Bellugi), una delle occupanti, gli donerà uno slancio per tentare di affrontare i traumi indelebili del suo vissuto.

    La desolazione dello spazio e del corpo

    Sin dalle prime sequenze la desolazione si manifesta in ogni angolo delle stanze, piene di muffa e scatolette di tonno consumate. Il silenzio alberga tra le mura del vecchio edificio e Adriano sembra desiderare di marcire in quel posto come in una prigione, in cerca di una redenzione che potrebbe non palesarsi mai. La casa abbandonata costituisce il suo riflesso, lo specchio dei giorni che verranno.

    Virzì lascia poco spazio alla commedia e ci mostra un uomo senza più scopi, un animale ferito in isolamento. Non ritira le raccomandate del postino, non apre le finestre e fuma mestamente un sigaro sotto la luce fioca di un abat-jour. 

    È con l’entrata in scena della collega Giuliana che la sceneggiatura (scritta dal regista con il fratello Carlo e con Francesco Bruni) si concede qualche breve istante di ilarità, evidente nel tono sempre scanzonato e sognante di Valeria Bruni Tedeschi, perfetto a rompere il contesto di disperazione proposto in precedenza.

    Da questo momento cominciamo a comprendere i motivi della condizione di depressione del protagonista e ci addentriamo nei suoi ricordi, vivendo parallelamente le vicende che lo vedono al centro di un processo penale a Roma e quelle che lo coinvolgono nella sua vita da pseudo eremita. 

    Sereni necessita inconsapevolmente di una spinta che gli dia la forza di essere clemente con le sue colpe. I pochi attimi in cui in passato ha indugiato non torneranno più, perché si sono spalmati nella sua esistenza alla ricerca di una giustificazione per un fatale ritardo.

    Il confronto tra generazioni

    L’arrivo dei ragazzi nelle vigne, dapprima visto con riluttanza, diventa il motore per avviare un percorso. 

    Viene dipinto un quadro piuttosto sommario del gruppetto, che sembra rimandarci a degli hippy un po’ svampiti e anacronistici, tuttavia, una comparazione generazionale serve a mettere in moto dei meccanismi fondamentali per la struttura narrativa. Due epoche diverse a confronto fanno emergere una rigidità rispetto a certi concetti essenziali, come la genitorialità. La nostra cultura ci impone dei ruoli che sovente risultano imperfetti, carichi di errori e di stereotipi. Qui vengono messi sulla bilancia il peso e al contempo la leggerezza del prendersi cura di qualcuno.

    Il periodo della vendemmia assume un triplice significato di rinnovamento: quello della terra in cui è ambientata la vicenda, quello del corpo di Matilde e quello dello spirito del personaggio principale.

    Così la fotografia, curata da Luca Bigazzi accompagna il tempo del racconto, facendosi lugubre nell’inverno (inteso sia come stagione che come stato d’animo) e ravvivandosi con qualche raggio luminoso quando l’estate si palesa e i campi si tingono di un verde acceso e naturale.

    “And now I’m older, gotta get up, clean the place” (e ora sono più vecchio, devo alzarmi, dare una pulita) canta Nick Drake sulle note di Place to be mentre una minuscola parvenza di benevolenza verso se stessi sorge insieme al sole del mattino.

    Cinque secondi non cerca l’assoluzione o una forma di perdono, va solo incontro a una nuova alba, probabilmente imperfetta come la precedente, ma sicuramente emblema di un inizio.

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    Maria Cagnazzo,
    Redattrice.

  • Recensione Un altro Ferragosto – Paolo Virzì tra passato e presente

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    Paolo Virzì ci riporta sull’isola di Ventotene, dove due famiglie molto diverse tra loro (ma con anche molte cose in comune) si scontrano sullo sfondo di un matrimonio che ricorda da vicino quello dei Ferragnez. Sono passati quasi trent’anni da Ferie d’agosto, forse non si sentiva proprio il bisogno di un sequel, eppure i nostri personaggi hanno avuto un’altra possibilità. “La casa è un po’ cambiata” ma loro sono sempre gli stessi, giusto?

    L’estate del 2023 a Ventotene è particolarmente animata: l’isola è infatti stata scelta come location per celebrare il matrimonio di Sabrina, influencer famosa particolarmente legata alla casetta bianca dove l’avevamo già vista passare le vacanze di agosto da ragazza tanti anni prima. La casa bianca si è riempita di persone, tutte più o meno emozionate per le nozze della giovane. A pochi metri di distanza, nella casetta rosa, c’è invece il giovane imprenditore Altiero, in attesa dei suoi ospiti: tra loro suo padre Sandro, molto malato, a cui il figlio spera di regalare un’ultima vacanza con gli amici di sempre nel posto che più ama al mondo. Similmente a ciò che era successo in Ferie d’agosto, non ci vorrà molto tempo perché le due famiglie entrino in conflitto tra di loro. I preparativi per il matrimonio sono ingombranti, rumorosi, caotici, e il motivo scatenante del contrasto ha a che fare con una certa memoria storica a cui Sandro, giornalista e militante di sinistra, è profondamente connesso.

    L’intento del film è un po’ quello di trasportare i conflitti generazionali e politici di Ferie d’agosto in un contesto moderno, inserendo tematiche attuali e modellando il tutto ai giorni nostri: peccato che la modernità qui sia stata tradotta in smartphone, sigarette elettroniche ovunque e vaghi riferimenti alla pandemia. Se lo scopo era quello di ironizzare sull’essere invecchiati, non tutto è andato come previsto. E così in Un altro ferragosto, la parola “altro” sta quasi a indicare un sentimento di stanchezza e di esasperazione, un po’ come dire “Dobbiamo davvero farci un altro ferragosto laggiù?”

    Conflitti e implicazioni politiche

    Il discorso politico messo su da Virzì è molto simile a quello in Ferie d’agosto, in cui il conflitto tra le due famiglie nasce da un incidente che coinvolge un giovane immigrato sulla costa dell’isola. Qui lo scontro esplode in occasione delle preparazioni al matrimonio, durante le quali viene abbattuto un rudere che si rivela essere stato un luogo importantissimo per gli antifascisti italiani che erano stati confinati su Ventotene nel 1943 (tra cui anche Pertini). Sandro, quello che un po’ possiamo identificare come il patriarca della famiglia nella casa rosa, non fa altro che ricordare e raccontare quel buio periodo della storia italiana; non è difficile capire come possa sentirsi di fronte a un’offesa del genere per di più attuata per il solo scopo di celebrare un matrimonio. Dall’altra parte, famiglia e amici di Sabrina e del promesso sposo Cesare, sembrano non capire il significato della loro azione (o forse non vogliono capire), e preferirebbero chiudere i contrasti “a tarallucci e vino”. A loro non interessa conoscere la storia dei militanti di sinistra oppositori al regime fascista, non in questo giorno di festa. E qui chi ha ragione?

    Una riflessione su entrambe le parti del conflitto e sulle loro ragioni sarebbe stata molto interessante da sviluppare nella seconda parte del film, e in parte ci si riesce, ma non con la stessa forza e profondità che avevamo visto in Ferie d’agosto. Non che il motivo scatenante della trama sia più debole, è lo svolgimento a non essere sempre perfetto. La chiara critica alle tendenze degli influencer a spettacolarizzare ogni aspetto della propria vita sarebbe potuta essere sviluppata più accuratamente, considerano l’attualità della tematica soprattutto dopo il caso Ferragnez. Qui la riflessione si ferma sui personaggi di Sabrina e Cesare, a tratti inutilmente stereotipati, e finisce per assumere un atteggiamento giudicante nei loro confronti. L’influencer è una categoria che nel periodo attuale ha fatto sorgere numerose questioni, ma qui la professione viene quasi ridicolizzata, andando ad ammazzare la critica nel momento in cui maggiormente poteva essere approfondita. Non aiuta il fatto che il finale risulta leggermente affrettato e lascia alcune domande in sospeso sul futuro di determinati personaggi.

    Non stiamo parlando di un disastro, ci troviamo comunque di fronte a un regista consapevole, con un regia studiata e una sceneggiatura che può strappare qualche sorriso di tanto in tanto facendo riflettere su tematiche scomode, tuttavia siamo ben lontani (purtroppo) dai tempi de Il Capitale Umano e La pazza gioia. Non che la tragicità non sia affatto presente, ma non colpisce come Virzì era stato in grado di fare in passato. Il risultato è una commedia godibile, con personaggi che ritroviamo dopo tanti anni e che scherzano sull’essere invecchiati, ma che non riescono a fare di questa nuova era il loro punto di forza. Andate in sala senza troppe pretese, anche solo per godervi un fantastico Silvio Orlando! 

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    Renata Capanna,
    Redattrice.

  • Film al cinema Marzo 2024 – 11 consigli

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    Lupin III – Il castello di Cagliostro

    • Regista: Hayao Miyazaki
    • Genere: Animazione, avventura
    • Anno: 1979
    • Paese: Giappone
    • Durata: 100 minuti
    • Data di uscita: 04 marzo 2024
    • Distribuzione: Nexo Digital
    • Trama

    Drive-Away Dolls

    • Regista: Ethan Coen
    • Genere: Commedia, Thriller
    • Anno: 2024
    • Paese: USA, Gran Bretagna
    • Durata: 84 minuti
    • Data di uscita: 07 marzo 2024
    • Distribuzione: Universal Pictures
    • Trama

    Memory

    • Regista: Michel Franco
    • Genere: Drammatico
    • Anno: 2023
    • Paese: USA, Messico
    • Durata: 100 minuti
    • Data di uscita: 07 marzo 2024
    • Distribuzione: Academy Two
    • Trama

    Totem – Il mio sole

    • Regista: Lila Avilés
    • Genere: Dramma
    • Anno: 2023
    • Paese: Messico, Danimarca, Francia
    • Durata: 95 minuti
    • Data di uscita: 07 marzo 2024
    • Distribuzione: Officine UBU
    • Trama

    DogMan

    • Trailer
    • Regista: Luc Besson
    • Genere: Drammatico
    • Anno: 2023
    • Paese: Francia, USA
    • Durata: 114 minuti
    • Data di uscita: 12 ottobre 2023
    • Distribuzione: Lucky Red

    Un altro Ferragosto

    • Regista: Paolo Virzì
    • Genere: Commedia
    • Anno: 2024
    • Paese: Italia
    • Data di uscita: 07 marzo 2024
    • Distribuzione: 01 Distribution
    • Trama

    Inshallah a Boy

    • Regista: Amjad Al Rasheed
    • Genere: Dramma
    • Anno: 2023
    • Paese: Giordania, Francia, Arabia Saudita, Qatar
    • Durata: 113
    • Data di uscita: 14 marzo 2024
    • Distribuzione: Satine Film
    • Trama

    La Terra Promessa

    • Regista: Nikolaj Arcel
    • Genere: Drammatico, Storico
    • Anno: 2023
    • Paese: Danimarca, Norvegia
    • Durata: 120 minuti
    • Data di uscita: 14 marzo 2024
    • Distribuzione: Movies Inspired e Circuito Cinema Distribuzione
    • Trama

    Kung Fu Panda 4

    • Regista: Mike Mitchell
    • Genere: Animazione, Avventura
    • Anno: 2023
    • Paese: USA
    • Durata: 94 minuti
    • Data di uscita: 21 marzo 2024
    • Distribuzione: Universal Pictures
    • Trama

    May December

    • Regista: Todd Haynes
    • Genere: Dramma, Sentimentale
    • Anno: 2023
    • Paese: USA
    • Durata: 113 minuti
    • Data di uscita: 21 marzo 2024
    • Distribuzione: Lucky Red
    • Trama

    Quarto Potere

    • Regista: Orson Welles
    • Genere: Dramma
    • Anno: 1941
    • Paese: USA
    • Durata: 120 minuti
    • Data di uscita: 24 marzo 2024
    • Distribuzione: iWonder Classics
    • Trama

    Priscilla

    • Regista: Sofia Coppola
    • Genere: Dramma, Biografico
    • Anno: 2023
    • Paese: USA
    • Durata: 113 minuti
    • Data di uscita: 27 marzo 2024
    • Distribuzione: Vision Distribution
    • Trama

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    Rosario Azzaro,
    Caporedattore.

  • Trailer Un altro Ferragosto – Il sequel di Ferie d’agosto di Paolo Virzì

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    La rivalità tra le famiglie Molino e Mazzalupi torna sul grande schermo dopo quasi trent’anni.

    Un altro Ferragosto, il nuovo lungometraggio di Paolo Virzì, è il sequel dell’ormai cult Ferie d’agosto, che nel 1996 valse al regista un David di Donatello come miglior film.

    Avevamo lasciato Cecilia e Sandro in attesa di un nascituro e li ritroviamo con un figlio ventiseienne, Altiero. Il giovane è un imprenditore digitale che decide di tornare a Ventotene con il marito fotomodello e di radunare i vecchi amici per regalare al padre malato un’ultima vacanza estiva. I Molino rincontreranno i Mazzalupi intenti a organizzare il matrimonio di Sabry, diventata una celebrità del web. Le nozze della figlia del bottegaio romano attireranno i media e i misteriosi emissari del nuovo potere politico. 

    Nel trailer, rilasciato recentemente, emerge un ritorno agli antichi dissapori e alle divergenze politiche che probabilmente si intrecceranno con la situazione contemporanea del Paese. 

    Il film (scritto da Francesco Bruni, Carlo e Paolo Virzì) è distribuito da 01Distribution e prodotto da Lotus Production, una società Leone Film Group, con Rai Cinema in associazione con Tenderstories. 

    Nel cast figurano volti vecchi e nuovi, tra cui Silvio Orlando, Sabrina Ferilli, Christian De Sica, Laura Morante, Andrea Carpenzano, Vinicio Marchioni, Anna Ferraioli Ravel, Emanuela Fanelli, Rocco Papaleo, Paola Tiziana Cruciani e Agnese Claisse.

    Un altro Ferragosto sarà nelle sale cinematografiche dal 7 marzo 2024.

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    Maria Cagnazzo,
    Redattrice.

  • David di Donatello 2023 – Tutti i vincitori

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    David di Donatello 2023: trionfano Le otto montagne ed Esterno Notte nell’edizione che vuole innovare. Tutti i vincitori

    Ieri sera si è tenuta presso gli Studi Lumina di Roma la premiazione della 68ª edizione dei David di Donatello. L’evento è stato trasmesso su Rai 1 ed è stato presentato dal conduttore televisivo Carlo Conti affiancato dall’attrice Matilde Gioli.

    A trionfare è stato Le Otto Montagne della coppia belga Felix Van Groeningen e Charlotte Vandermeersh, con quattro premi tra cui miglior film e miglior sceneggiatura non originale (più fotografia e sonoro). Ha stupito abbastanza la vittoria di un film che non era il favorito della serata ma sicuramente ha incontrato il favore del pubblico nella precedente stagione cinematografica, grazie anche all’affiatata amicizia tra i due attori protagonisti Luca Marinelli e Alessandro Borghi.

    L’altro grande vincitore della cerimonia è stato Esterno Notte di Marco Bellocchio, anch’esso con quattro premi tra cui miglior regia e attore protagonista a Fabrizio Gifuni (gli altri due riconoscimenti sono andati a montaggio e trucco). “Non me lo aspettavo… ma lo accetto!” sono state le parole di Bellocchio, giunto alla sua settima vittoria ai David e in partenza per Cannes in questi giorni per presentare il suo nuovo film Rapito; Gifuni ha invece ringraziato “la lentezza, la fragilità, il gioco, la fantasia, l’immaginazione che sono l’antidoto a questi tempi”, ed ha esaltato “il valore dell’indipendenza e della libertà creativa svincolata dalle logiche di profitto”.

    Anche La Stranezza di Roberto Andò premiato con quattro statuette di cui le principali sono state sceneggiatura originale e produttore, affiancati ai David per la scenografia e i costumi. È indubbio in particolare il premio alla produzione, che ha attivato la collaborazione di due major storicamente concorrenti come Rai Cinema e Medusa, e portato nelle sale un film capace di superare le aspettative di apprezzamento da parte del publico, mettendo insieme due comici estremamente popolari (Ficarra e Picone) con un attore tra i più talentuosi (Toni Servillo) in una storia di tradizione italiana e cultura scolastica (Pirandello).

    I due film in qualche modo esclusi da questa edizione risultano dunque Il Signore delle Formiche di Gianni Amelio, con zero vittorie, e Nostalgia di Mario Martone con una sola vittoria, all’attore non protagonista Francesco Di Leva (alla sua terza nomination e prima vittoria) che ha ringraziato commosso Pierfrancesco Favino e aggiunto che maggio è il suo mese fortunato (per la vittoria dello Scudetto del Napoli e per il compleanno di suo figlio).

    Due statuette a testa anche per Settembre, che ha visto premiati l’esordio alla regia di Giulia Steigerwalt e l’attrice protagonista Barbara Ronchi, e Siccità di Paolo Virzì, con le vittorie per gli effetti visivi e l’attrice non protagonista Emanuela Fanelli. Come puntualizzato già durante la serata da parte dalla Presidentessa dell’Accademia del Cinema Italiano Piera Detassis, sono stati distribuiti durante la serata numerosi premi a persone candidate per la prima volta.

    Guardando alle vittorie complessive risulta evidente la volontà, da parte dei David di Donatello, di tentare di innovare e svecchiare un po’ la propria immagine, consegnando il premio alla regia a quella che di fatto è una miniserie televisiva (con una posizione comunque più conservatrice che assegnare la statuetta ai due autori belgi di Le Otto Montagne). Ulteriore segno di riguardo verso ciò che il pubblico apprezza sono stati i premi a La Stranezza, caso cinematografico del 2022, così come i premi a una comica dal background televisivo come Emanuela Fanelli o alla canzone di un’artista molto popolare come Elodie per Ti mangio il cuore, che ha lasciato a bocca asciutta altri colleghi apprezzatissimi come Marco Mengoni e Diodato.

    Tuttavia, anche in questo approccio più popolare (necessario in un momento storico in cui le sale cinematografiche sono spesso in crisi per scarsità di titoli italiani forti) non mancano alcune criticità già evidenti durante la serata: il discorso di Gifuni per esempio esalta “la libertà creativa svincolata dalle logiche di profitto” che di fatto significa snobbare i gusti del pubblico, così come la conduzione stessa dell’evento, priva di guizzi ma piena di tempi morti, che (unita alla finale di Champions League svoltasi durante la medesima serata) ha consegnato un misero share televisivo del 10 percento, denotando in maniera netta il sostanziale disinteresse del pubblico a seguire un evento tra i più importanti del cinema italiano. Certo, come segnala Gabriele Niola su BadTaste, siamo lontani anni luce dal 2018, l’anno in cui i David più importanti andarono ai film che avevano incassato meno di tutta la stagione (Nico, 1988, A Ciambra, Sicilian Ghost Story, Gatta Cenerentola, Fortunata).

    Marina Cicogna, importante produttrice italiana che vinse anche un Oscar al Miglior Film Straniero con Indagine su un cittadino al di sopra di ogni sospetto, ha ritirato il David Speciale alla carriera dichiarando che il regista con cui lavorò meglio fu Elio Petri prematuramente scomparso, e commentando la perdita di rapporto tra i produttori e i registi nel cinema di oggi. L’attore e regista statunitense Matt Dillon ha invece consegnato un altro David Speciale a Isabella Rossellini, dichiarando di amare l’Italia e sentirsi mezzo italiano.

    Di seguito tutti i vincitori dei David di Donatello 2023:

    MIGLIOR FILM

    Le Otto Montagne

    Esterno Notte

    Il Signore delle Formiche

    La Stranezza

    Nostalgia

    MIGLIOR REGIA

    Marco Bellocchio (Esterno Notte)

    Gianni Amelio (Il Signore delle Formiche)

    Roberto Andò (La Stranezza)

    Felix Van Groeningen e Charlotte Vandermeersh (Le Otto Montagne)

    Mario Martone (Nostalgia)

    MIGLIOR ESORDIO ALLA REGIA

    Giulia Louise Steigerwalt (Settembre)

    Carolina Cavalli (Amanda)

    Jasmine Trinca (Marcel!)

    Niccolò Falsetti (Margini)

    Vincenzo Pirrotta (Spaccaossa)

    MIGLIORE SCENEGGIATURA ORIGINALE

    La Stranezza

    Astolfo

    Chiara

    Esterno Notte

    Il Signore delle Formiche

    L’Immensità

    MIGLIORE SCENEGGIATURA NON ORIGINALE

    Le Otto Montagne

    Bentu

    Brado

    Il Colibrì

    Nostalgia

    MIGLIOR PRODUTTORE

    La Stranezza

    Esterno Notte

    Le Otto Montagne

    Nostalgia

    Princess

    MIGLIOR ATTRICE PROTAGONISTA

    Barbara Ronchi (Settembre)

    Benedetta Porcaroli (Amanda)

    Margherita Buy (Esterno Notte)

    Penelope Cruz (L’immensità)

    Claudia Pandolfi (Siccità)

    MIGLIOR ATTORE PROTAGONISTA

    Fabrizio Gifuni (Esterno Notte)

    Luigi Lo Cascio (Il Signore delle Formiche)

    Ficarra e Picone (La Stranezza)

    Alessandro Borghi (Le Otto Montagne)

    Luca Marinelli (Le Otto Montagne)

    MIGLIOR ATTRICE NON PROTAGONISTA

    Emanuela Fanelli (Siccità)

    Giovanna Mezzogiorno (Amanda)

    Daniela Marra (Esterno Notte)

    Giulia Andò (La Stranezza)

    Aurora Quattrocchi (Nostalgia)

    MIGLIOR ATTORE NON PROTAGONISTA

    Francesco Di Leva (Nostalgia)

    Fausto Russo Alesi (Esterno Notte)

    Toni Servillo (Esterno Notte)

    Elio Germano (Il Signore delle Formiche)

    Filippo Timi (Le Otto Montagne)

    MIGLIORE FOTOGRAFIA

    Le Otto Montagne

    Esterno Notte

    I racconti della domenica – La storia di un uomo perbene

    La Stranezza

    Nostalgia

    MIGLIOR COMPOSITORE

    Stefano Bollani (Il pataffio)

    Fabio Massimo Capogrosso (Esterno Notte)

    Michele Braga ed Emanuele Bossi (La Stranezza)

    Daniel Norgren (Le Otto Montagne)

    Franco Piersanti (Siccità)

    MIGLIOR CANZONE ORIGINALE

    Proiettili – Elodie (Ti mangio il cuore)

    Se mi vuoi – Diodato (Diabolik – Ginko all’attacco!)

    Caro amore lontanissimo – Marco Mengoni (Il colibrì)

    Culi culagni – Stefano Bollani (Il pataffio)

    Margini – Niccolò Falsetti (La palude)

    MIGLIOR SCENOGRAFIA

    La Stranezza

    Esterno Notte

    Il Signore delle Formiche

    L’ombra di Caravaggio

    Le Otto Montagne

    MIGLIORI COSTUMI

    La Stranezza

    Chiara

    Esterno Notte

    Il signore delle formiche

    L’ombra di Caravaggio

    MIGLIOR DOCUMENTARIO

    Il cerchio

    La timidezza delle chiome

    In viaggio

    Kill me if you can

    Svegliami a mezzanotte

    MIGLIOR ACCONCIATURA

    L’ombra di Caravaggio

    La stranezza

    Esterno Notte

    L’immensità

    Il signore delle formiche

    MIGLIOR MONTAGGIO

    Esterno Notte

    Nostalgia

    Il signore delle formiche

    Le Otto Montagne

    La stranezza

    MIGLIOR TRUCCO

    Esterno notte

    Dante

    Il colibrì

    Il signore delle formiche

    L’ombra di Caravaggio

    MIGLIORI EFFETTI VISIVI

    Siccità

    Dampyr

    Diabolik – Ginko all’attacco!

    Esterno Notte

    Le Otto Montagne

    MIGLIOR SUONO

    Le Otto Montagne

    Il signore delle formiche

    Esterno Notte

    La stranezza

    Nostalgia

    MIGLIOR CORTOMETRAGGIO

    Le variabili dipendenti

    Albertine Where Are You?

    Ambasciatori

    l barbiere complottista

    Lo chiamavano Cargo

    MIGLIOR FILM INTERNAZIONALE

    The Fabelmans

    Bones and All

    Elvis

    Licorice Pizza

    Triangle of Sadness

    DAVID GIOVANI

    L’ombra di Caravaggio

    Corro da te

    Il colibrì

    La stranezza

    Le otto montagne

    DAVID SPECIALE

    Marina Cicogna – alla carriera

    Isabella Rossellini

    Enrico Vanzina

    DAVID DELLO SPETTATORE

    Il grande giorno – 1.013.812 spettatori

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    Edoardo Borghesio,
    Redattore news.

  • RECENSIONE SICCITÀ – LA (NON) CRISI AMBIENTALE

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    Direttamente dalla 79ª edizione della Mostra internazionale d’arte cinematografica di Venezia, dove è stato presentato fuori concorso, arriva nelle sale italiane Siccità, la nuova fatica del regista livornese Paolo Virzì. A quasi trent’anni dal suo debutto, Virzì è stato capace di cementificare il proprio nome nell’alveo del cinema nostrano, pur rappresentando una figura estremamente divisiva e polarizzante. È difficile, però, non ammettere come alcune delle sue opere siano riuscite a conquistare un posto di rilievo nel cinema italiano dell’ultimo trentennio, ora configurandosi come dei veri e propri cult (Ovosodo), ora ottenendo importanti riconoscimenti sul piano nazionale (Il capitale umano e La pazza gioia), ma soprattutto riuscendo il più delle volte a fare breccia nel cuore del pubblico.

    I territori più esplorati da Paolo Virzì sono quelli della commedia, in una posizione di continuità con la tradizione della commedia all’italiana e in alcuni casi con risultati capaci di dare parvenza di nuova vita all’atmosfera, all’aura e alla delicatezza malinconica dei lavori degli anni che vanno dalla seconda metà dei ’50 alla prima dei ’70. Le varie incursioni nel territorio del dramma gli hanno permesso di mettere alla prova le proprie capacità narrative, il più delle volte accompagnato alla sceneggiatura dai fedelissimi Francesco Bruni e Francesca Archibugi. In fin dei conti ciò che rende il cinema di Virzì così forte, sia in termini qualitativi che di risultati al botteghino, è la grande capacità del regista di rendere l’ordinario straordinario, di mostrare la quotidianità italiana sotto una luce diversa, di creare identificazione attraverso piccoli gesti capaci di sprigionare emozioni forti e sincere.

    Senza troppi giri di parole, è doveroso partire da una premessa: Siccità è un film in cui ben poco funziona, uno degli esiti meno felici dell’intera carriera di Paolo Virzì. La più grande delusione è insita già nel titolo dell’opera che, all’apparenza, sembrerebbe richiamare un tema di estrema attualità, lasciando presagire di trovarsi dinnanzi ad un racconto capace di dialogare in maniera stimolante con il presente. L’emergenza ambientale e la crisi climatica sono realtà inequivocabili e ci si aspetterebbe una forte presa di posizione da parte di un film intitolato Siccità, in cui, alla fine, l’assenza prolungata di piogge nel territorio romano finisce per essere un mero pretesto, un collante per tenere insieme archi narrativi fin troppo eterogenei che vanno a formare un puzzle i cui pezzi spesso e volentieri finiscono per non incastrarsi a dovere.

    A fronte di un cast di tutto rispetto – da Monica Bellucci a Valerio Mastandrea, da Claudia Pandolfi a Silvio Orlando, da Emanuela Fanelli a Tommaso Ragno – si trovano dei personaggi ora appena abbozzati, ora poco convincenti o semplicemente non interessanti, che si muovono all’interno di una struttura narrativa che sa di vecchio: il film a episodi. L’errore imperdonabile di Siccità è quello, già accennato, di non affidare il giusto peso al tema del cambiamento climatico, ponendolo sullo sfondo in modo approssimativo e preferendo ad esso un discorso legato alla sfera del privato, all’intimità dei personaggi, alle loro sofferenze quotidiane, tra insoddisfazione e tradimenti, tra amori colti sul nascere e riunioni familiari. Queste storielle stucchevoli tradiscono le aspettative di chi avrebbe preferito un discorso più accurato e aderente alle questioni del presente; per parlare della siccità non basta mostrare il letto del Tevere prosciugato o impostare la color correction di certe sequenze con una patina giallastra e acida, come nei peggiori esempi stereotipici della rappresentazione del Messico nei film statunitensi.

    Paolo Virzì sembra più interessato a fare di questo film una metafora della pandemia da covid-19, riproponendo dei leitmotiv ben noti e inflazionati: epidemie, quarantene e mascherine, scienziati in televisione che diventano le nuove star, influencer impegnati a sensibilizzare il proprio pubblico sui social network, rivolte e proteste contro una fantomatica dittatura. Virzì trova stimolante l’attività di catalogare le novità e le unicità del periodo pandemico, portando avanti anche un discorso sull’intermedialità dei mezzi di comunicazione a nostra disposizione – dai talk show televisivi alle dirette social – un po’ come un altro film piuttosto recente: Don’t look up. Al contrario di Siccità, però, il film di Adam McKay, nella sua profonda imperfezione, riusciva a dare valore e risonanza alla tematica cardine del racconto.

    In fin dei conti, Siccità di Paolo Virzì è un pastiche di storie, generi e registri fin troppo differenti tra loro per poter pensare di portare avanti una narrazione coesa ed efficace. La sceneggiatura non riesce a bilanciare i troppi elementi messi in campo, perdendo di tanto in tanto dei pezzi, tra cui, il più importante, quello tematico legato alla siccità e alla crisi ambientale. Non basta un finale pseudo-consolatorio per esaurire un argomento tutto in divenire, ma nei confronti del quale Paolo Virzì non si è dimostrato sufficientemente lungimirante da comprenderne le vere implicazioni.

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