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Recensione Gli Indesiderabili – Domande senza risposta

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Dopo il successo ottenuto al suo esordio con Les Misérables (2019), il regista e sceneggiatore francese Ladj Ly torna a raccontare i sobborghi parigini in Gli Indesiderabili. Stavolta lo fa attraverso le vicende di Haby (Anta Diaw), residente dell’edificio 5 che dà il titolo originale al film, e del nuovo sindaco Pierre Forges (Alexis Manenti).

Il nome del quartiere Montvilliers è fittizio, rappresenta simbolicamente tutte le comunità di questo tipo realmente esistenti, tuttavia gli elementi autobiografici non mancano neanche in questa pellicola: Haby è di origine maliana come il regista e nomina più volte Les Bosquets, il blocco residenziale di Montfermeil dove è cresciuto.

La storia si apre con una lunga sequenza nella quale un gruppo di uomini cerca di trasportare una bara lungo le scale strette e buie dell’edificio 5: un complesso fatiscente dove abitano centinaia di stranieri di diverse provenienze, stipati in condizioni pericolose in attesa di poter affittare dei nuovi appartamenti che non arrivano mai. In maniera un poco didascalica ma sicuramente efficace ci viene presentato subito il punto di vista di questa parte della popolazione, attraverso le parole della madre di Haby: come è possibile vivere e morire in un posto del genere?

Da una parte la perdita della nonna sembra essere la spinta per la quale la ragazza aumenterà il proprio impegno sociale e politico, parallelamente la morte improvvisa del sindaco costringerà Pierre Forges ad accettare il suo incarico, per portare avanti un progetto di rinnovo urbano appena iniziato. Forges è un uomo insicuro e schivo, che cercherà di affermare la propria autorità con metodi reazionari. Di fronte a decreti sempre più ingiusti e agli interventi della polizia nel quartiere, Haby prende la decisione di candidarsi a sindaco al suo posto. Il punto di incontro tra le due realtà è il vice sindaco Roger Roche (Steve Tientcheu), anche lui di origine africana ma molto severo nei confronti della sua stessa comunità.

Gli indesiderabili è un discorso sulla politica fatta dal basso e su cosa questa debba significare, anche se purtroppo non approfondisce il tema: si limita ad una sequenza di fatti. Questi fatti hanno la funzione di denuncia degli abusi commessi dalle autorità o di presentare punti di vista diversi da quella di Haby, come nel caso di Blaz (Aristote Luyindula) che è estremamente disilluso, ma l’arco narrativo sembra interrompersi a metà. L’esempio più palese è la campagna elettorale di Haby, filo conduttore che finisce per non avere né una conclusione né un ruolo nel finale della pellicola.

Lo stesso destino tocca ai personaggi, che rimangono nettamente separati in buoni e cattivi, dato che ogni climax in cui iniziamo a vedere le conseguenze della frustrazione dei cittadini si risolve nella retorica ormai abusata del dover essere “migliori di loro”. Questo tipo di approccio non è del tutto sufficiente a restituire la reale complessità della vita delle banlieue: dato che il parallelo tra Haby e il sindaco è una falsa equivalenza, per via dei contesti di provenienza e delle motivazioni diversissime che li guidano, è un peccato che non venga fatto il passo successivo di mostrare le conseguenze pratiche di questa disuguaglianza, ovvero la reale differenza di significato che ogni azione può avere per un personaggio o per l’altro. La premessa che Ladj Ly fa già all’inizio della storia è che le vittime sono vittime e non esistono zone grigie quando si tratta di diritti umani, dopo di ché si è persa l’occasione di far incontrare al pubblico queste vittime come persone reali, ciascuna con un carattere e delle sfumature.

Questo film è anche un dramma, che in alcuni momenti si fa intenso e violento (anche grazie alla fotografia che è uno dei suoi punti di forza) ma a causa di questa presentazione piuttosto piatta l’impatto emotivo svanisce sempre in fretta. Rimane l’impressione che ci fossero i presupposti per raccontare molto di più, dato che le domande che pone sull’esistenza di una parte di umanità “indesiderabile” sono fondamentali e complesse.

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Federica Rossi,
Redattrice.

July 14, 2024
Recensione Non riattaccare – Odissea nell’oscurità della mente

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Secondo lungometraggio di finzione per Manfredi Lucibello dopo il noir Tutte le mie notti, Non riattaccare prende le mosse da un romanzo di Alessandra Montrucchio e la sua premessa intrigante, affidando la stragrande maggioranza del tempo del racconto a una sola interprete e al voice over di un personaggio fuori campo. Laddove paragone che più spesso è stato citato è con Locke di Steven Knight per le ovvie similitudini – la corsa in automobile, notturna e solitaria, del protagonista unico Tom Hardy -, il noir sentimentale di Manfredi Lucibello prevede un cast di personaggi in scena più ampio ed è meno prigioniero dell’abitacolo. Appare quindi più libero dall’impostazione teatrale cui si potrebbe comunque ricondurre.

La lunga notte della pandemia

Opera forse meno ardua e rigida nel seguire la gimmick, il film di Lucibello, a differenza del dramma di Knight, imbocca ben presto la strada del thriller psicologico. Durante una delle lunghe e anonime notti del primo lockdown, Irene riceve una chiamata nel cuore della notte dall’ex Pietro, che lascia presagire un gesto estremo e disperato. Irene parte per un’odissea a rotta di collo, fin da subito funestata da ostacoli tecnici, umani e sentimentali, e segnata da una sola regola per impedire l’irreparabile: che i due, entrambi smarriti in una propria solitudine estrema e inconfessabile, non smettano di parlare al telefono. Ma la batteria si consuma, la benzina dell’auto pure, e Pietro appare instabile e Irene è sempre più sfinita.

Con l’unico, fragile legame che mantiene il contatto tra i due mentre Irene percorre le strade deserte di una città (di un mondo?) spettrale, i chilometri tra i due che si accorciano sempre più: la corsa solitaria nelle strade deserte della protagonista Irene è una gara contro il tempo e un viaggio nell’oscurità dei propri traumi.

L’effimero che ci unisce

Facile ma non del tutto errato etichettarlo come cinema “da pandemia”, cosa che può far storcere il naso a chi ci vede un facile tentativo di inserirsi nel contemporaneo. Ma il lockdown è solo il contesto in cui si muove un lento e paziente lavoro di svelamento di rapporti umani ridotti a brandelli. Non solo l’incertezza dei rapporti umani in tempo di pandemia costretti a un’assenza imprevista e traumatica: la sceneggiatura di Lucibello e di Jacopo del Giudice vorrebbe mettere in evidenza più in generale la fragilità sostanziale che ci lega come umani, prigionieri della nostra storia personale.

Tensione e sviluppo psicologico dei personaggi vanno di pari passo. Sul piano del thriller la scommessa di Lucibello regge: sfrutta appieno il contesto della pandemia per costruire una corsa contro il tempo perfettamente realistica che non scade quasi mai nella soluzione facile.

Nella sua disamina di rapporti sentimentali disastrati, disvela a dovere informazioni sui personaggi senza calcare la mano in over explaining. Ciò che manca, è una solida base di partenza, intesa come personalità forti in grado di reggere un film così imperniato sul dialogo, anche con una interprete come Barbara Ronchi, l’attrice che regge efficacemente da sola quasi un intero lungometraggio sulle proprie spalle. E non aiuta che il viaggio nella notte della pandemia finisca con il rifiutare ogni possibile ambiguità in favore di una conclusione fin troppo perentoria: le domande che pone sono decisamente più interessanti delle risposte.

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Valentino Feltrin,
Redattore.

July 13, 2024
Recensione Four Daughters – Tra re-enactment e primavera araba

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Presentato in concorso alla 76° edizione del Festival di Cannes, Four Daughters di Kaouther Ben Hania, mette in scena la storia di Olfa e delle sue quattro figlie. Raccontando la sparizione delle sorelle maggiori, Rahma e Ghofrane, la regista riflette sui cambiamenti che hanno coinvolto la Tunisia durante la Primavera araba e sulle possibilità del cinema di ricreare il passato per poterlo affrontare.

A colpire è innanzitutto l’impianto generale del progetto: un documentario che non si limita a raccontare gli avvenimenti, ma li ricrea a partire dal racconto di Olfa. A questa premessa si aggiunge però un ulteriore grado di complessità, in quanto saranno solo le due sorelle minori, Eya e Tayssir, ad essere realmente in scena, mentre le maggiori vengono interpretate da due attrici. Anche Olfa è affiancata da un’attrice che la sostituisce in alcune scene, assumendo un ruolo che potrebbe essere definito come quello di una controfigura emotiva.

Avendo acquisito fin da bambina una forte attitudine di contrasto alle figure maschili, Olfa si afferma come una donna, e successivamente una madre, perfettamente consapevole della propria individualità. Ad esempio, durante la prima notte di nozze, non volendo concedersi al marito, fa in modo che sia lui a sanguinare per poter sporcare le lenzuola che serviranno come prova del fatto che fosse arrivata vergine alle nozze. Il personaggio utilizza questa sua individualità per potersi mettere in opposizione alla tendenza maschile dominante che permea il contesto in cui vive: l’attitudine, che lei definisce mascolina, assunta per proteggere la propria madre è ciò che le permette di lasciare, assieme alle figlie, il marito violento.

Dopo questa porzione iniziale che mette Olfa al centro del film, cominciano a definirsi le relazioni tra i cinque membri della famiglia, e lo spettatore assiste al processo in cui i ruoli vengono definiti. Ci troviamo infatti in una vera e propria sessione di preparazione per le donne che interpreteranno Rahma e Ghofrane, le figlie che “sono state divorate dal lupo”. Si arriva così al nucleo di un progetto complesso, originale, affascinante e decisamente ambizioso per la quantità di temi che vuole trattare, dal racconto sociale al dramma familiare, il tutto inserito in una costante riflessione sulle potenzialità del mezzo cinematografico di mescolare realtà e finzione.

Il film si dimostra lucido nei confronti dei temi che affronta e nell’ordine in cui vengono presi in considerazione, riuscendo a costruire una ragnatela di collegamenti che lega le esperienze personali di ogni personaggio ai cambiamenti sociali che ha vissuto il loro Paese, restituendone la natura complessa. Infatti è emblematica la frase pronunciata da Olfa ricordando la rivoluzione che ha portato alla caduta della dittatura di Ben Ali: “erano tempi duri ma almeno eravamo insieme”. Questo perché la fine del regime autoritario ha reso possibile la proliferazione di organizzazioni religiose estremiste che hanno coinvolto proprio Rahma e Ghofrane, una svolta nella vita della famiglia che porta la madre a formulare questo pensiero sincero e profondamente contraddittorio.

Ma Four Daughters è anche un film che si costruisce sul sistema del re-enactment. La regista, infatti, non è solamente interessata a mostrare una storia, ma intende mostrare la preparazione della sua messa in scena, focalizzandosi sull’utilizzo delle attrici. Le attrici che interpretano le sorelle assenti si trovano a dover interiorizzare non dei personaggi, ma delle persone vere e proprie, in un processo di immersione che risulta doloroso per le altre donne, al punto da dover chiedere di interrompere una ripresa, fino a rifiutarsi di rivolgersi a un’attrice mentre indossa il Niqab (il tradizionale velo islamico che copre l’intero corpo della donna, lasciando scoperti solo gli occhi).

La controfigura della madre ha, invece, un ruolo legato al tema del doppio, evidenziato dai numerosi giochi di specchi e sovrapposizioni tra Olfa e l’attrice che la interpreta. Tuttavia, il processo di ri-messa in scena di questi eventi permette anche di riflettere su ciò che è accaduto, in una sorta di autoanalisi in cui è possibile fare un resoconto delle scelte prese nel corso degli anni e che potrebbero essere collegate al dramma che ha colpito la famiglia. In questo senso c’è una soluzione interessante adottata da Ben Hania che sottolinea con forza questo aspetto. Quando l’attrice recita nei panni di Olfa, vediamo spesso la vera Olfa sullo sfondo mentre osserva la scena, diventando così una presenza fantasmatica che ha la possibilità di rivedere ciò che le è accaduto da un punto di vista alternativo, prendendo coscienza dei propri comportamenti. La donna arriverà a riconoscere che parte del problema è stato proprio il suo istinto di protezione verso le figlie, un istinto che però viene interpretato positivamente quando lo assume da bambina per proteggere la madre.

Ecco che quindi al di là di un impianto teorico estremamente complesso, che talvolta rischia di essere vittima della sua stessa ambizione rendendo il film non sempre fluido, il film di Ben Hania è ammaliante e preciso in diversi aspetti, raccontando, a partire da una vicenda individuale, una realtà che in occidente viene fin troppo spesso ridotta e semplificata. La regista esalta la complessità di questa realtà concentrandosi sull’ambiguità e le contraddizioni dei suoi protagonisti, riuscendo a mantenere uno sguardo interessato ma distaccato, senza mai cadere in un superficiale dualismo che vede i buoni contrapposti ai cattivi, alimentando anzi i dubbi.

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Riccardo Fincato,
Redattore.

June 29, 2024
Recensione Hit man – Killer per caso: Un viaggio attraverso l’identità

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Quante maschere indossiamo per poter sopravvivere? Qual è quella che ci assomiglia di più? Quanti frammenti raccolgono la nostra reale essenza?

Richard Linklater torna al cinema con Hit man – Killer per caso, una commedia che tocca diversi generi e ci pone di fronte a questi e altri interrogativi con una leggerezza mai superficiale.

Il film, distribuito da BIM e presentato in anteprima alla 80ª Mostra internazionale d’arte cinematografica di Venezia, è liberamente ispirato a una storia vera, raccontata nel 2001 in un articolo del giornalista Skip Hollandsworth (già collaboratore del regista in Bernie) sul Texas Monthly.

Gary Johnson (Glen Powell) insegna filosofia e psicologia al college e nel tempo libero collabora con alcuni membri della polizia (Retta e Austin Amelio) come consulente informatico. Costretto a sostituire un agente sotto copertura, si troverà a impersonare un sicario e scoprirà la sua effettiva natura, acquisendo delle consapevolezze impreviste e inaspettate.

Gary è una persona comune, un viso da dimenticare, chiuso nella gabbia della routine e della solitudine. Non ammette trasgressioni e tutto il suo mondo appare anonimo, perfino il suo nome risulta banale. Quando comincia a fingersi qualcun altro, diviene consapevole dei segmenti che compongono la sua personalità ed emerge una parte di lui probabilmente rimasta sopita troppo a lungo.

Apparentemente l’equilibrio tra Es e Super-Io inizia a vacillare, in realtà i travestimenti e i personaggi da interpretare delineano una nuova forma di armonia nella sua vita.

Linklater scrive insieme a Glen Powell una sceneggiatura brillante, mettendo in scena un racconto dinamico, in continua evoluzione. Il trasformismo del protagonista si riflette direttamente sulla narrazione: il regista si muove dal romanticismo all’azione, passando per il thriller e il noir.

Hit man si “traveste” di semplicità, ma scava intimamente nell’animo umano, approfondendo il concetto di identità.

La vicenda è scandita dalla voce narrante di Johnson che, attraverso la focalizzazione interna, ci accompagna nelle diverse fasi del suo mutamento progressivo. Lo spettatore onnisciente diventa un allievo di Gary e ascolta le sue lezioni su Nietzsche consapevole degli avvenimenti che si dipanano nella sua attività parallela.

La metamorfosi avviene lentamente, ma al contempo ogni minima trasformazione viene percepita e di conseguenza siamo chiamati ad accogliere un ritmo narrativo serrato, che segue la curva del cambiamento del nostro killer passo dopo passo.

Il film scardina la nozione stessa di “hit man”, relegandola a un’invenzione della cultura di massa, a una fantasia che il personaggio principale deve incarnare.

Powell diventa camaleontico proprio come Gary, riuscendo a viaggiare da un carattere all’altro e restando sempre credibile. Lo scialbo professore di provincia può diventare chiunque con i mezzi espressivi del corpo, spostandosi sul palcoscenico della realtà. Anche le relazioni sentimentali si dimostrano più semplici indossando panni differenti e così l’uomo riesce a instaurare un rapporto complesso e ambiguo con la giovane Madison (Adria Arjona), mostrando una sicurezza difficile da attribuirgli nelle sue vesti usuali.

La verità non è più oggettiva e immutabile, la morale non può essere ridotta ad assolutismi e tutti possono diventare differenti, tutti interpretano un ruolo che finisce per rappresentarli.

Hit man capovolge il significato di “maschera”, conferendogli la capacità di svelare il volto dell’individuo, permettendogli finalmente di accedere alla piena conoscenza di se stesso.

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Maria Cagnazzo,
Redattrice.

June 29, 2024
Recensione The Bikeriders – Ribellione, identità e libertà

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L’America rappresentata da Laszlo Benedek in The Wild One (1953), quella conservatrice del secondo dopoguerra, prendeva la forma di una piccola cittadina californiana dove il tempo sembrava essersi fermato nel vecchio west. Un’America spaventata dal cambiamento, ostile verso le nuove generazioni in cerca di un qualcosa di diverso rispetto ai soliti valori tradizionali. Johnny Strabler (Marlon Brando) rappresentava il senso comune di alienazione e bisogno di ribellarsi provato da molti giovani dell’epoca. Tra questi figurava John Davis, un camionista di McCook, Illinois, che, ispirandosi proprio al personaggio interpretato da Marlon Brando, fondò il suo club di motociclisti: gli Outlaw MC. Il club si espanse in fretta e divenne presto uno dei più grandi degli Stati Uniti. Il fotografo americano Danny Lyon iniziò a seguire gli Outlaws a metà degli anni ‘60, pubblicando nel 1967 il fotolibro The Bikeriders.

A distanza di quasi sessant’anni dall’opera di Lyon, Jeff Nichols scrive e dirige (prendendosi molte libertà) un adattamento dell’omonimo fotolibro. Il film racconta l’ascesa dei Vandals MC e dei loro membri. Johnny (Tom Hardy), camionista e padre di famiglia, fonda i Vandals dopo la visione di The Wild One, rimanendo profondamente affascinato dal personaggio di Brando e da ciò che esso rappresenta. Benny (Austin Butler) è un vero ribelle, un uomo d’azione impassibile e di poche parole, che ambisce alla libertà più totale e simboleggia tutto ciò che Johnny vorrebbe essere. Consapevole di non essere il leader giusto per il futuro del club da lui stesso creato, Johnny vede in Benny la personificazione degli ideali che lo hanno ispirato a fondare i Vandals, la giusta guida per un gruppo sempre più violento a causa di nuove leve che non riesce più a tenere a bada. Ma il loro è un rapporto di stima reciproca: Johnny è per Benny quasi una figura paterna, colui che gli ha dato la possibilità di esprimersi per ciò che è nel profondo, che lo ha (forse) per la prima volta fatto sentire parte di qualcosa.

A ritrovarsi catapultata in questo mondo è Kathy (Jodie Comer), moglie di Benny e vera e propria narratrice del film. Attraverso una serie di interviste condotte dal personaggio di Danny (Mike Faist), esprime un punto di vista esterno, che offre una prospettiva umana e personale riguardo la vita ribelle dei Vandals, costituito anch’essa da regole e, di conseguenza, mai realmente libera.

Ma la storia dei Vandals è la storia di tutti i club di motociclisti fondati a cavallo tra gli anni ’60 e ‘70, nati come luoghi di ritrovo per persone che un posto non lo avevano e in un’epoca in cui le illusorie sirene del sogno americano mietevano vittime sempre più numerose. E i bikers, equivalenti moderni dei cowboys, non facevano altro che sfidare il rigore di quell’America capitalista. Ma l’inizio della guerra in Vietnam, con il conseguente rientro dei primi veterani, ha dato alla luce una nuova America, violenta ed egoista. Le regole non cambiano, ma sono reinterpretate dai giovani appena rientrati dalla guerra e la cui prospettiva del mondo e della vita è ormai del tutto mutata irreversibilmente.

È la fine dell’epoca d’oro dei bikers, un tempo in cui il peggio che poteva capitargli era di finire investiti da una macchina che usciva da un parcheggio. Johnny vorrebbe Benny come suo successore, considerandolo come l’unico in grado di preservare i valori reali del club. Tuttavia, i suoi ideali gli impongono di non avere responsabilità alcuna, di non attaccarsi a niente e a nessuno.

La libertà, nelle sue molteplici interpretazioni, anima profondamente i personaggi e si riflette magistralmente nell’estetica della fotografia di Adam Stone e nel sonoro. Jeff Nichols dimostra nuovamente una grande abilità, soprattutto per quanto riguarda la direzione degli attori. La fragilità intrinseca del personaggio di Johnny è qui resa alla perfezione nella scelta del timbro vocale di Tom Hardy, stridulo e graffiato, in netto contrasto con l’immagine di forza e invulnerabilità che il personaggio dovrebbe incarnare. Ciò si contrappone efficacemente ai toni più bassi e misurati impiegati da Austin Butler.

Ciò che invece, a mio avviso, non riesce a convincere del film di Nichols è la tendenza a relegare sullo sfondo le forze motrici che animano molti dei personaggi, relegando così elementi cruciali della narrazione a una posizione di secondaria importanza. Inoltre, la gestione del cambio generazionale all’interno del club appare, a sua volta, carente di incisività. Molte delle nuove leve sono violente perché devono esserlo ai fini della narrazione, togliendo profondità a un elemento cruciale quale il passaggio da “club di vandali in motocicletta” a organizzazione criminale organizzata.

Gli anni rappresentati nel film, dal 1965 al 1973, sebbene ricchi di significato storico e culturale, non riescono a imprimere un senso di gravità e rilevanza alla narrazione. Il passare del tempo, che a un film che dipana il suo racconto nell’arco di otto anni dovrebbe conferire una dimensione di evoluzione e trasformazione, risulta così, in alcuni punti, trattato superficialmente. In definitiva, il film sembra, a mio avviso, mancare l’opportunità di sfruttare appieno il potenziale narrativo offerto dal contesto storico in cui è ambientato.

In conclusione, The Bikeriders di Jeff Nichols affronta con maestria temi di identità, ribellione e cambiamento sociale, sfruttando una fotografia e un immaginario che riflettono profondamente l’estetica e il clima dell’epoca. Tuttavia, il relegare in secondo piano le forze motrici che guidano i personaggi verso una ribellione contro l’”American Way of Life” tende a ridurre l’impatto emotivo e narrativo delle vicende rappresentate.

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Simone Pagano,
Redattore.

June 22, 2024
Recensione Inside Out 2: la riconquista della fiducia

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Dopo una serie di giri a vuoto lo studio di Emeryville riesce a centrare il colpo.

Il nuovo film Pixar Inside Out 2, diretto non più da Pete Docter ma dall’esordiente Kelsey Mann, è probabilmente il film più atteso della primavera-estate 2024. Quello che è solitamente uno dei periodi più floridi per il box office stavolta piange lacrime amare a causa della penuria di blockbuster americani. L’ultimo maggio prima della pandemia aveva visto i botteghini di tutto il mondo crollare sotto i colpi di Avengers: Endgame, nel 2022 Tom Cruise aveva iniettato una fiala di imperialismo testosteronico con Top Gun: Maverick mentre il 2023 è stato l’anno del Barbienheimer. L’annata corrente è ancora influenzata dalle conseguenze degli scioperi di sceneggiatori e attori dello scorso anno e per la prima volta in dieci anni a maggio non abbiamo visto nessun film di supereroi. Dall’altra parte la Pixar potrebbe tornare ad incassare seriamente per la prima volta dal 2020. Onward si è visto tagliare le gambe dal Covid, Soul, Luca e Red sono usciti direttamente su piattaforma, Lightyear è stato un flop, Elemental ha raggiunto un profitto minimo. Inside Out 2 sembra essere l’unico film in grado di risollevare lo studio e raggiungere il miliardo di dollari di incasso quest’anno. Probabilmente andrà così.

È passato circa un anno dal finale del primo film, la neo-tredicenne Riley si è ambientata con la sua famiglia a San Francisco e si prepara ad un camp di hockey su ghiaccio organizzato dal liceo in cui sogna di entrare. Le cinque emozioni che vivono nel suo cervello (Gioia, Tristezza, Rabbia, Disgusto e Paura) hanno trovato un equilibrio e tutte concorrono alla salvaguardia del Senso di Sé della ragazza. L’arrivo della pubertà tuttavia comporterà l’ingresso di quattro nuove emozioni (Ansia, Imbarazzo, Noia e Invidia) che mineranno lo status quo.

È senza dubbio rassicurante guardare un nuovo prodotto Pixar che non si limita ad essere blandamente coerente con la propria storia e i propri punti di forza storici (l’immenso comparto grafico, l’inventiva, la creazione di mondi alternativi, la capacità di creare narrazione ad ampio respiro comprensibile su più livelli) ma riesce anche a fornire una evoluzione credibile delle dinamiche psicologiche dei protagonisti. Nell’ultima dozzina di anni troppo spesso abbiamo assistito a sequel dei capolavori Pixar che nemmeno sembravano avere l’ambizione di ricreare le tensioni mature dei propri predecessori (da un Monsters University totalmente slegato dall’originale ad un Toy Story 4 più che superfluo passando per un Alla Ricerca di Dory di carta velina), per non parlare del grandissimo spreco di potenzialità che è stato Lightyear. Inside Out in generale sembrava essere l’unico film post Toy Story 3 ad avere l’ambizione e le spalle larghe della Pixar degli anni 2000, eguagliato forse dal suo contraltare Soul (diretto sempre da Docter), e andando anche a settare un nuovo standard grafico (il mediocre Elemental è davvero troppo derivativo).

Nonostante la classica sfiducia nei sequel e una certa perdita di ammirazione incondizionata per la Pixar odierna, Inside Out 2 riesce fin da subito a dimostrare di avere senso di esistere e magari di generare anche nuove storie in futuro.

Le quattro nuove emozioni appaiono destinate ad essere transitorie, tipiche forse della sola adolescenza e infatti sembrano tutti dei teenager insicuri nel mondo di Monsters & Co.. Ansia (dominante arancione) ha un maglione a righe e un’aria iperattiva, Invidia (verde acquamarina) sembra quasi una anime girl, Noia (o meglio Ennui, violetto) è quasi una emo accidiosa mentre Imbarazzo (rosa) è un gigante incappucciato. Il dualismo tra la nuova leader Ansia e la vecchia leader Gioia è portato sullo schermo in maniera assai interessante.

La sostituzione dei Ricordi Base con il nuovo Senso di Sé ben figura a livello grafico la crescita di Riley e di qualsiasi altro essere umano (ricorda anche il Cristallo di Atlantis) e in generale la morfologia sempre più labirintica della mente della ragazza è una soluzione vincente. Le sue emozioni non sono onniscienti ma acquisiscono competenze con lei, si trovano continuamente in discussione forse in maniera anche più realistica e umana rispetto al primo film. Di certo non possiamo ignorare la totale assenza di pulsioni sessuali o quantomeno sentimentali, poco credibile per una tredicenne. Magari Pixar avrebbe potuto trovare il modo di raffigurare questa tematica anche secondo i suoi parametri e in un eventuale terzo capitolo non si potrà ancora ignorare a lungo questo problema.

In definitiva possiamo dirci soddisfatti di un film che riesce a mantenere i punti di forza del suo predecessore senza compiere rivoluzioni ma senza snaturare o essere offensivo per i creatori e gli spettatori, che potrebbe costituire un tassello per nuove avventure con i migliori auspici e che sembra ricordare alla stessa Pixar come gestire le proprie storie e i propri personaggi. Noi saremo pronti a seguire la crescita di Riley e le sue emozioni, come abbiamo seguito quella di Andy e i suoi giocattoli.

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Nicolò Cretaro,
Redattore.

June 21, 2024
The sweet east – La libertà di scegliere sé stessi o di non scegliere affatto #Biografilm24

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Un’America raccontata in termini satirici facendo grande uso di ironia e stereotipi, ma anche il viaggio di iniziazione di una giovane ragazza che sceglie di mettere al primo posto i suoi desideri per vivere la sua vita. The sweet east riesce ad unire questi due elementi in una poesia visiva brillante e dinamica.

Il film è l’esordio alla regia del direttore della fotografia Sean Prince Williams, ed è stato presentato al Biografilm Festival 2024 nella sezione (di cui è risultato anche vincitore) “Beyond fiction – oltre la finzione”. Questa categoria aveva come proposito quello di esplorare pellicole che si avventurassero in dimensioni surreali e in cui i confini tra realtà e immaginazione si sovrapponessero e confondessero fino quasi a sparire. Coinvolgente e spiazzante, The sweet east rispetta alla perfezione questi parametri, mettendo in scena un racconto picaresco che vede come protagonista la giovane Lillian, studentessa di scuola superiore insoddisfatta della sua vita che coglierà la possibilità di scappare, nel senso letterale del termine, dal tedio della sua quotidianità.

Nel corso di una gita scolastica una serie di eventi porta Lillian, mentre è fuori in un locale di sera, ad abbandonare il suo gruppo di amici. Da quel momento si susseguiranno diverse avventure. La ragazza viaggerà lungo la costa orientale degli Stati Uniti e farà la conoscenza di molte persone; passerà attraverso realtà estremamente variegate le une dalle altre, saltando da gruppi punk a riunioni di neonazisti (e il legame particolare con uno di loro, che si svilupperà sempre a vantaggio di Lillian) e diventerà infine una star cinematografica (la vedremo al fianco di Jacob Elordi).

Scegliere sé stessi

Ciò che rende il racconto caratteristico è la mancanza di un grande coinvolgimento emotivo della protagonista a fronte degli eventi, spesso anche traumatici, che si trova a vivere. Al contrario, fin da subito il suo personaggio sembra caratterizzato da una grande apatia che da un lato può esser vista come la cifra caratteristica delle nuove generazioni, dall’altro può essere semplicemente segno di una straordinaria intelligenza da parte di qualcuno che si trova in situazioni di difficoltà e sceglie di non farsi dominare dalle emozioni e fare la scelta migliore a livello pratico.

Lillian mette sé stessa al primo posto e il podio delle sue priorità è confermato nel corso di tutto il film. Vuole abbandonare ciò di cui è scontenta (la sua vita quotidiana e la relazione con il fidanzato Troy). Nel momento in cui le sue avventure hanno inizio continua a dare importanza solo ai suoi desideri, talvolta incurante dei possibili danni che può provocare alle persone con cui di volta in volta si relaziona. È conscia del grande potere che una ragazza possa avere nel lasciar parlare gli altri e apparire ai loro occhi come ciò che loro vorrebbero. E al momento più opportuno riprendersi la propria libertà e la propria immagine.

La libertà è appunto un tema centrale del racconto: la libertà di essere ciò che si vuole di volta in volta, di vivere esperienze nuove, gratificanti, di scoprire il mondo e anche di adottare un po’ di (a volte) sano egoismo.

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Gaia Fanelli,
Redattrice.

June 18, 2024
Recensione Linda e il pollo – Storia di una piccola rivoluzione

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Ci appare un dato di fatto e una speranza che più di qualcosa si sta muovendo, timido ma deciso, sotto la superficie del cinema d’animazione mainstream. È un discorso affrontato già numerose volte in questi spazi, analizzando l’enorme successo di film d’animazione che, oltre ad ampliare l’orizzonte stilistico del cinema d’animazione e il ventaglio di tecniche possibili, si pongono fieramente in un percorso che mira a scardinare il binarismo cinema per adulti – cinema per bambini imposto. Questo è vero per l’ultimo Miyazaki, per le incursioni nello Spider-Verse, opere d’artigianato e colossi produttivi che alzano l’asticella per la tecnica in un modo che costringe la concorrenza a stare al passo.

Accanto a questi, si pongono anche progetti più piccoli, gemme minori per budget e magari meno prorompenti ma non per questo meno consapevoli. Linda e il pollo è uno di questi. Esordio nell’animazione per Chiara Malta e secondo lungometraggio animato per Sebastian Laudenbach dopo alcuni corti in cui sperimenta il suo stile animato , Linda e il pollo è stato presentato in anteprima italiana alla ventesima edizione del Biografilm Festival.

Inseguire un ricordo

All’origine di tutto è un vuoto, via via popolato da ricordi, da grezze macchie di colore che affollano lo schermo. Uno dei primi ricordi di Linda è quello di suo padre. Ma suo padre è morto; e otto anni dopo, Linda e sua madre Paulette vivono un complicato rapporto madre-figlia, esacerbato da un difficile clima sociale e politico. Paulette accusa ingiustamente Linda del furto di un anello. Ma Il tentativo di Paulette di farsi perdonare degenera in una cascata di furti, inseguimenti e si trasforma piccola rivoluzione personale che si fa strada nella più grande protesta che blocca la città.

La tenacia irrefrenabile dei più piccoli e le mancanze di adulti incasinati gettano ben presto nel caos il quartiere. La caccia al pollo scombina ruoli e istituzioni, e diventa pretesto per una sequela di personaggi azzeccatissimi e gag sotto il segno di un umorismo anarchico. Linda e il pollo vive della gioia per il disordine, del gusto per l’infrazione delle regole, emanazione di una narrazione infantile e solida presa di posizione nei confronti di una certa concezione dell’arte rivolta ai più piccoli.

Il cuore colorato dell’animazione

In Linda e il Pollo, ciascun personaggio è definito da un colore diverso. Con l’eccezione dei rappresentanti dell’autorità, i poliziotti in bicicletta e in tenuta antisommossa, ciascun colore identifica le singole personalità e, allo stesso tempo, disperde i lineamenti e le figure in modo libero, ricercatamente grossolano, elastico nel disegno dei personaggi e nel rispetto delle proporzioni. Uno stile espressivo vivace, come l’irrefrenabile gioia di vivere dei suoi personaggi, capace di trasformarsi in momenti emotivi in cui protagoniste sono la memoria, i sentimenti. Puri, senza compromessi.

L’ode animata alla rivoluzione di Chiara Malta e Sebastian Laudenbach sfugge alle categorizzazioni, ed espande il concetto di animazione, allo stesso tempo semplificandone lo stile e ampliando le possibilità espressive nella ricerca delle emozioni più pure dei personaggi, in un perfetto connubio di cuore e tecnica, risate ed emozioni.

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Valentino Feltrin,
Redattore.

June 18, 2024
The Lost Notebook – La cinefilia nell’ossessione archivistica #Biografilm24

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Cinefilia. Con questo termine, per definizione, si intende l’adorazione per il cinema e per la sua storia. La cinefilia è una forma di passione per il mezzo cinematografico in grado di conquistare il cuore dell’uomo in modo totalizzante.

Come per altri tipi di amore, le forme di espressione della cinefilia sono molte: avere il mito della sala cinematografica e continuare a frequentarla con regolarità può esserne un esempio, così come collezionare DVD andando alla ricerca delle copie più rare ed introvabili. Quando pensiamo ad un cinefilo ci viene in mente qualcuno che svolge tutte queste attività, in più legge libri sul cinema, ascolta podcast sul cinema, frequenta i festival di cinema, insomma vive di cinema.

The lost notebook

The lost notebook, opera seconda della regista danese Ida Marie Gedbjerg Sørensen, è stato presentato al Biografilm Festival 2024. La regista ci racconta la storia reale del suo ritrovamento, durante i suoi anni di studio in Ungheria, di un vecchio quadernetto colmo di annotazioni a proposito di film. Il taccuino era infatti appartenuto ad un vecchio operaio la cui vita era stata scandita dal culto del cinema, e la sua cinefilia si manifestava soprattutto nel suo prender nota, volta per volta, di ogni pellicola guardata. Questa scoperta porta Ida Sørensen a mettersi in contatto con i familiari dell’uomo e a ricostruire con loro la storia di una vita e di un paese tramite l’analisi di 52 anni di appunti sistematicamente organizzati.

La vita di Istvan

Attraverso le testimonianze i pezzi si ricompongono e una figura prende forma, sia nelle sue caratteristiche ma soprattutto nelle sue relazioni con gli altri. Di Istvan sappiamo come amasse particolarmente i film d’azione americani, di come si fosse preso cura del giovane nipote Attila e come visioni collettive dei suoi DVD preferiti fossero un suo grande modo di esprimere affetto.

In effetti The lost notebook è anche un perfetto esempio del modo in cui un’azione vista come individuale per natura, la visione cinematografica, possa nei giusti contesti riuscire ad unire le persone invece che costituire una forma di evasione. Questo vale soprattutto per la famiglia dell’operaio, estremamente frammentata e divisa sotto molti aspetti, ma i cui membri erano legati dalla medesima passione condivisa con meticolosità.

All’interno della ricostruzione storica, sempre partendo dagli appunti, viene anche reso omaggio all’Ungheria e al vissuto dei suoi cittadini, citando ad esempio il traumatico evento della rivoluzione del 1956. Tramite questo interessante tipo di approccio si ha l’opportunità di studiare l’impatto di grandi avvenimenti storici sulle singole vite degli uomini, e in questo caso è stato possibile vederne gli effetti sulle abitudini di visione Istvan.

Attraverso il filtro della cinefilia ci vengono raccontate le vicende di una famiglia, la storia di un popolo, la vita di un uomo. The lost notebook è un omaggio all’amore per il cinema nella sua forma più pura, e la poetica che sottende al racconto messo in scena è la magia delle piccole abitudini, apparentemente poco degne di nota ma in realtà cariche di forza eversiva e straordinaria passione.

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Gaia Fanelli,
Redattrice.

June 16, 2024
Recensione The Watchers – L’orrore fallimentare dell’overexplaining

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Volendo fare una cernita dei film horror tratti da romanzi appartenenti al genere si otterrebbe una lista praticamente infinita: già soltanto con gli infiniti adattamenti dai racconti di Stephen King si riempirebbero pagine intere, ai quali andrebbero poi aggiunti i grandi romanzi gotici, i racconti divenuti ormai dei classici e le nuove storie che giorno dopo giorno arrivano in libreria. Proprio a quest’ultima categoria appartiene The Watchers, romanzo scritto da A.M. Shine e preso come ispirazione da Ishana Night Shyamalan – figlia del ben noto cineasta M. Night Shyamalan – per il suo lungometraggio d’esordio, di cui firma sia la sceneggiatura che la regia. Qualcosa però non è andato per il verso giusto e ciò che Ishana ha portato in sala è, di fatto, ben lontano dalle riuscite pellicole del padre dell’ultimo periodo.

Osservatori, tra cinema e social media

Dopo una tipica corsa da pellicola dell’orrore tra i fitti alberi di una buia foresta, il film ci presenta Mina (Dakota Fanning), una giovane artista che per portare a termine una consegna finisce per perdersi in una misteriosa foresta in Irlanda che sembra senza via d’uscita. Dopo un velocissimo tramonto, la ragazza si ritrova ad inseguire una anziana signora (Olwen Fouéré) fino ad una strana abitazione: composta da una sola stanza con un tavolo, alcune sedie, un divano ed un televisore, ma soprattutto uno specchio come parete. All’interno sono presenti anche Daniel (Oliver Finnegan) e Ciara (Georgina Campbell), costretti di giorno a percorrere la foresta in cerca di una via di fuga e di notte a rintanarsi nella stanza per proteggersi dalle misteriose creature che li osservano attraverso lo specchio.

Da qui il film si dipana per 102 minuti con una storia interessante alla base, soprattutto nel pescare direttamente dal folklore del luogo per inserire creature conosciute anche a livello internazionale – che non approfondiremo per evitare spoiler sgradevoli – e nel presentare nel sopracitato specchio un interessante spunto di riflessione sul concetto di osservatore. Da un lato si presenta infatti l’inevitabile parallelismo proprio con lo spettatore stesso in attesa che i personaggi agiscano per portare avanti la storia – non a caso una delle regole presentate dal personaggio di Madeline è proprio “non volgere le spalle allo specchio”, rispettando quindi la regola teatrale del mai voltare le spalle al pubblico – mentre dall’altro si sviluppa quel concetto di giudizio continuo che si sperimenta attraverso i social, piattaforme in cui ognuno posta i propri contenuti mettendoli alla mercé di osservatori (e giudicatori) di cui noi non vedremo mai il volto.

(Poco) Orrore attraverso lo specchio

Tutti questi aspetti, tuttavia, potrebbero essere ricevuti come una supercazzola di Tognazziana memoria, in quanto l’obiettivo della pellicola si manifesta piuttosto nel semplice tentativo di creare tensione e spavento, dando vita nel complesso solo a banali jumpscare e ad appena un paio di sequenze effettivamente riuscite e capaci di generare la giusta ansia. Se il setting infatti funziona e l’idea di base riesce ad attirare lo spettatore, il film decide però di procedere nel racconto presentando uno dietro l’altro i vari elementi che compongono la narrazione accompagnando però ciascuno di essi con corpose sezioni dialogate – quando non nella forma di veri e propri monologhi – con lo scopo di spiegare per filo e per segno tutto quanto. Se ciò permette anche allo spettatore più distratto di rimanere costantemente all’interno del racconto senza perdersi, comporta al tempo stesso una forte mancanza di tensione, soprattutto con l’avanzare del minutaggio, dal momento che essa, si sa, molto spesso deriva proprio da quel “non sapere”.

Se sul lato narrativo la pellicola mostra più volte il fianco a problematiche tutt’altro che secondarie, sul lato tecnico il tutto si assetta su un livello tutto sommato godibile, soprattutto grazie all’ottima ambientazione, al design dello strano edificio in cui i personaggi trascorrono buona parte del tempo ed alla regia di Ishana che, anche se con qualche scivolone, riesce a creare alcuni scorci interessanti per quanto, troppo spesso, abbastanza anonimi.

Il comparto attoriale porta infine a casa la partita senza infamia e senza lode, con i personaggi comprimari imbrigliati in ruoli di fatto secondari e dalla poca rilevanza e una Fanning nel ruolo di protagonista le cui doti ben altro che scadenti faticano comunque a portare lo spettatore a empatizzare con un personaggio decisamente odioso per cause di sceneggiatura.

Conclusioni

L’esordio sul grande schermo di Ishana Night Shyamalan è purtroppo una pellicola estremamente dimenticabile, dalla premessa di certo interessante ma che non riesce a srotolare nel modo giusto puntando eccessivamente ad una over-exposition, una spiegazione didascalica e superflua di tutto ciò che avviene a schermo, togliendo così anche quel poco di tensione rimasta dopo i banali jumpscare di cui la pellicola risulta infarcita. Sul lato tecnico la situazione si dimostra invece decisamente meno problematica, con una regia accettabile anche se spesso anonima, ma soprattutto grazie a ottime location e scenografie.

È decisamente troppo presto bocciare in toto la carriera della giovane Ishana, che confidiamo capace di rifarsi con le future pellicole, ma di certo non è ancora giunto il momento in cui il grande M. Night uscirà di scena per far spazio alla propria discendenza.

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Mattia Bianconi,
Redattore.

June 10, 2024