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Tag: recensione

  • Recensione Holy Cow – (non) diventare grandi all’improvviso

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    Holy Cow nelle sale italiane si intitola Tutto in un’estate! ed è il promettente esordio alla regia di Louise Courvoisier, con una sceneggiatura scritta da lei stessa insieme a Théo Abadie. Il lungometraggio è stato premiato nell’edizione 2024 del Festival di Cannes per la categoria Un certain regard – Youth Prize, successo notevole se si considera che, oltre ad essere un’opera prima, vanta un cast composto esclusivamente da attrici e attori non professionisti. Il titolo francese era Vingt Dieux, letteralmente “venti Dei”, ma la sua versione internazionale è un gioco di parole che esprime perfettamente il tono leggero di questo coming of age un po’ diverso dal solito. 

    Ci troviamo ai piedi delle alpi francesi, nella regione di Franche-Comté, dove viene prodotto l’omonimo formaggio. Immersi nell’atmosfera naif di un documentario rurale à la Alice Rohrwacher, incontriamo il diciottenne Totone (Clément Faveau), che all’inizio della storia si sta togliendo i vestiti mentre è in piedi su una panca, nel bel mezzo di una sagra di paese, incoraggiato dai cori goliardici dei suoi amici. Non serve sapere altro perché Totone è un adolescente normale, in un contesto che chiunque sia cresciuto nella provincia profonda, anche di qua dalle Alpi, sentirà familiare. Dopo la morte improvvisa del padre il protagonista deve occuparsi della sorellina Claire (Luna Garret), ma non ha mai lavorato prima e i suoi tentativi di ottenere un impiego sono ostacolati dai pessimi rapporti che ha tenuto finora con gli altri giovani della zona. Decide allora di provare a produrre il Comté, nella speranza di vincere il primo premio del concorso dedicato e risolvere i suoi problemi economici. Insieme agli amici Jean-Yves (Mathis Bernard) e Francis (Dimitry Baudry), inizia a rubare il latte dalla fattoria di una sua coetanea, Marie-Lise (Maïwene Barthelemy). Per sua fortuna la ragazza ha un debole per lui, ma i fratelli di lei sono tra i ragazzi con cui Totone aveva già una rivalità. 

    A questo punto iniziamo ad accorgerci che questo coming of age ha delle caratteristiche particolari, innanzitutto perché la personalità del protagonista non sembra cambiare da un momento all’altro, a seguito di un montaggio drammatico con accompagnamento musicale (strategia che rimane assolutamente valida se girata con maestria, ma che sicuramente non è la più nuova in circolazione). Il montaggio di rito c’è, ma per tutta la durata del racconto Totone ha gli stessi diciotto anni che aveva all’inizio e la sua crescita è visibile solo nei dettagli, in un gesto che esita un momento in più del solito, o in una scelta più coraggiosa che dura solo il tempo dell’intimità con Marie-Lise. Il realismo estremo di questa rappresentazione è uno dei punti di forza del film, che tiene ancorato lo spettatore non per la trama ma perché è impossibile non immedesimarsi. 

    Courvoisier non ci risparmia nulla della fatica di essere un ragazzo adolescente, portando sullo schermo non solo la pressione sociale vissuta da Totone ma anche la sua causa e le conseguenze. Assistiamo a dialoghi e insulti tra coetanei di stampo chiaramente sessista, la competizione tra loro ha come unico obiettivo l’attenzione delle ragazze, più volte situazioni dolorose o di conflitto sfociano nella violenza fisica e nel distacco, anche tra amici. La trama principale, ovvero Totone che cerca di vincere il primo premio, diventa di fatto lo sfondo, l’escamotage per raccontare quanto la buona volontà non sia sufficiente a cambiare la propria vita dall’oggi al domani: ci vuole una pazienza che i protagonisti, anche comprensibilmente, non sono abituati ad avere. 

    A proposito di pazienza notiamo che ci sono dei momenti in cui il ritmo rallenta in modo considerevole. Questo succede perché le dinamiche relazionali tra adolescenti non sono l’unico livello di lettura strettamente sociale: anche la testimonianza delle comunità agricole alpine prende molto spazio. La necessità dei ragazzi di imparare a produrre il formaggio è il gancio per inserire nel film momenti istruttivi che sono di fatto dei mini documentari sui metodi tradizionali di produzione del Comté; questa scelta da una parte contribuisce all’originalità del racconto, dall’altra non sostiene una struttura che era già in partenza molto semplice e lineare. I due livelli sono poco integrati tra loro, soprattutto nella parte centrale del racconto. Tutto in un’estate rimane in ogni caso un ottimo esordio, un racconto tenero e leggero che lascia ben sperare per la carriera di Courvoisier. 

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    Federica Rossi,
    Redattrice.

  • Recensione Alpha – La fine di un trittico

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    Se Raw era un adolescente e Titane una giovane adulta tormentata, Alpha è il punto di piena maturazione, terrena e spirituale. La conclusione della trilogia che la regista francese Julia Ducournau porta avanti da quasi dieci anni, un trittico di film in cui a dominare la scena è il corpo umano in qualsiasi sua declinazione.

    Abbiamo avuto la fortuna di vedere Alpha in anteprima al festival del Biografilm di Bologna, nella sua primissima proiezione dopo Cannes, ed è il momento perfetto per parlarne in attesa dell’uscita italiana fissata per settembre di quest’anno.

    Alpha, sua madre, suo zio

    Dopo aver raccontato le storie allucinanti di due giovani donne in Raw e Titane, Ducournau affida la narrazione del suo terzo film agli occhi e alla mente di Alpha, una ragazzina di appena tredici anni, che vediamo per la prima volta sullo schermo mentre si fa fare un tatuaggio improvvisato in casa di amici; tatuaggio più simile alla ferita lasciata da un pugnale o a una lettera scarlatta che a un disegno vero e proprio. Alpha (Mélissa Boros) vive con la madre (Golshifteh Farahani), infermiera nell’ospedale della città senza nome in cui si svolge il film, e la sua situazione familiare appare fin da subito molto problematica. La ragazzina sta per entrare nell’adolescenza, ma il suo periodo di ribellione sembra essere iniziato già da molto tempo; non aiuta l’improvvisa comparsa di suo zio Amin (Tahar Rahim), fratello della madre da anni dipendente dalle sostanze e senza un posto dove vivere.

    Mentre Alpha si ritrova a condividere la stanza con quell’uomo quasi sconosciuto che ha visto solo un paio di volte da molto piccola, al di fuori delle quattro mura di casa, nell’ospedale dove lavora la madre, sempre più persone si presentano contagiate da una malattia che sembra essere incurabile: un virus che trasforma lentamente i tessuti del corpo in marmo bianco. E se l’ago con cui Alpha è stata tatuata fosse contaminato da questo strano morbo? Se anche lei fosse destinata a fare la stessa fine di quei pazienti mentre sua madre infermiera assiste impotente?

    Corpi immobili di dolore e ricordi

    La storia narrata da Alpha non è sempre comprensibile, ma la sua apparente confusione è giustificata dal fatto che ci stiamo basando solamente sulla mente di una ragazzina. Il racconto dei rapporti tra la giovane protagonista e quella strana famiglia formata dalla madre e dallo zio procede in un costante rimbalzare tra passato e presente, che a un certo punto sembrano fondersi tra di loro, mentre le immagini del film si lasciano influenzare dalle paure della piccola Alpha nei confronti del mondo che la circonda.

    Il ricordo è una parte fondamentale del film, ma un ruolo ancora più importante lo ricopre il corpo umano come deposito dei ricordi stessi. Se in Raw avevamo davanti dei corpi quanto più carnali possibili, mossi da desideri logoranti, e in Titane si assisteva a qualcosa di ibrido tra corpo umano e macchina, tra carne e metallo, qui in Alpha vediamo corpi trasformarsi in vere e proprio rocce, quasi dei monumenti che sfidano il tempo. Le vene del corpo umano e il sangue all’interno, ciò che Amin sceglie di “sporcare” con le sostanze che si inietta nelle braccia, si trasformano nelle venature del marmo bianco, quella pietra di cui sono fatte le statue e i templi antichi che sono arrivati fino ai giorni nostri. Del resto, statue e monumenti non sono altro che un modo per mantenere vivo il ricordo di qualcosa o di qualcuno che non cammina più tra noi.

    Una storia di fantasmi

    Per usare le parole di Ducournau, Alpha è una storia di fantasmi, intima ma anche spaventosa, al confine tra il sogno e l’incubo. E la sua regia si muove in modo più che sicuro all’interno di questo viaggio allucinante alla scoperta di questa strana famiglia protagonista. Il film è anche ricco di molte citazioni, una delle più riconoscibili è la famosa Maschera della Morte Rossa di Edgar Allan Poe, ma c’è anche qualcosa de Il vento di Victor Sjöström andando verso il finale.

    Le musiche di Jim Williams, compositore che ha affiancato Ducournau in Raw e Titane (ma anche il buon Brandon Cronenberg per Possessor), sono una delle parti più belle di Alpha, accompagnano lo spettatore dai momenti più dolci a quelli più genuinamente disturbanti, spesso si fondono al battito del cuore della giovane protagonista.

    Insomma, Alpha è la conclusione di una trilogia atipica, un film che riflette sul passato e sulla perdita, mostrando allo spettatore che tipo di dolore si prova nel lasciar andare qualcuno, nel raccogliere il coraggio di chiudere un cerchio per sempre. Alpha è una tela macchiata di lacrime, inchiostro e sangue, dipinta da Ducournau con il coraggio e la consapevolezza del suo cinema come divisivo e polarizzante. E il coraggio è sempre qualcosa da ammirare.

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    Renata Capanna,
    Redattrice.

  • Recensione Hurry Up Tomorrow – In arte Abel

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    Da oltre dieci anni, The Weeknd, nome d’arte di Abel Tesfaye, si è velocemente ritagliato un ruolo di primissimo piano nel panorama musicale mainstream, dimostrandosi uno degli artisti più mutevoli e ambiziosi della sua generazione. Capace di attraversare e mescolare generi diversi, ha saputo far evolvere la sua scrittura, passando dalle confessioni oscure e intime degli esordi a veri e propri concept sulla fama, la solitudine e la decadenza. Nel tempo, The Weeknd ha trasformato il suo percorso artistico in qualcosa che va ben oltre la musica. La sua ossessione per l’estetica e per la narrazione visiva lo ha portato a immaginare ogni canzone come parte di un racconto più ampio, vicino al linguaggio del cinema. I suoi videoclip, sempre più ambiziosi, ne sono la prova più lampante.

    Hurry Up Tomorrow si configura come un’estensione visiva dell’ultimo album omonimo dell’artista canadese, che torna ad interpretare se stesso a sei anni di distanza da Diamanti Grezzi (2019). In questo caso però non si limita a una breve apparizione all’interno di una discoteca di New York, dove cantava The Morning e si faceva di cocaina con Julia Foxx, ma ne è il protagonista assoluto, oltre che produttore e co-sceneggiatore.

    Se in Diamanti Grezzi eravamo nel 2012, dove il “neonato” The Weeknd era agli albori della sua fama, in Hurry Up Tomorrow siamo invece nel 2025, dove ritroviamo un artista da oltre 60 miliardi di stream e sette tour mondiali all’attivo.

    Nel film, diretto da Trey Edward Shults (It Comes at Night, Waves), Abel è tormentato dall’insonnia e dalla depressione. Distrutto dalla fine della sua relazione e dalla perdita della voce, trova piccoli sprazzi di conforto attraverso Lee, il suo manager (Barry Keoghan), che ne è complice nei vizi e nell’autodistruzione. L’incontro con Anima (Jenna Ortega), una giovane fan enigmatica, lo trascinerà in un viaggio surreale tra incubi, deliri e ricordi sepolti, in cui sarà costretto a fare i conti con la parte più profonda di sé stesso.

    Sia Lee che Anima non sono semplici personaggi secondari, ma vere e proprie rappresentazioni del mondo interiore di Abel, incarnazioni opposte e complementari della sua psiche. Lee rappresenta il lato più oscuro e narcisistico dell’artista: è l’emanazione dei vizi, dell’ego ipertrofico, dell’onnipotenza che accompagna la celebrità (“you’re not human, man!”) e che porta Abel a usare e manipolare gli altri per il proprio piacere, convinto di poter controllare tutto e tutti – persone, relazioni, destino. È il volto seducente e distruttivo dell’auto-compiacimento.

    Anima, invece, è la manifestazione della sua parte più profonda, fragile ed emotiva. Seguendo la teoria junghiana, incarna la componente femminile inconscia della psiche maschile, quella che Abel ha soffocato dietro il personaggio pubblico, ma che continua a riemergere come voce di verità, vulnerabilità e bisogno d’amore autentico.

    Il film manca però di una linea narrativa solida, sacrificata – per scelta – sull’altare di un onirismo esasperato e di un’estetica ipersensoriale che, se funziona dal lato visivo – e non sempre -, dall’altro fatica a trovare una collocazione coerente all’interno del racconto.

    La regia di Shults è ricca di trovate stilistiche: cambi di formato, movimenti di macchina virtuosistici, luci stroboscopiche, giochi di montaggio (montaggio curato dallo stesso regista). Elementi che però finiscono per far sembrare il film un video-album travestito da lungometraggio, una sorta di seguito a The Dawn FM Experience (2022). Tutto si muove all’insegna di un’estetica che si compiace di sé stessa, dove il film sembra più interessato alla forma che al contenuto, fallendo quindi nel costruire qualsiasi tipo di connessione emotiva con il protagonista.

    Anche quel duello psichico tra Lee e Anima, all’inizio tra gli spunti più interessanti del film e che ne rimane, a mio avviso, uno dei punti forti, tende a svuotarsi con l’avanzare del film di ambiguità e complessità, scivolando, in una scena in particolare, verso il didascalico. E lo stesso vale per l’utilizzo di alcuni brani dell’album, inseriti non tanto come parte organica del racconto, quanto come evidenti sottolineature (Drive che parte dopo che Abel dice al suo autista di “guidare e basta”).

    L’unica vera forza trainante del film è la prova di Jenna Ortega, che riesce nell’ardua impresa di rendere credibile un personaggio ridotto dalla sceneggiatura ad un simbolo parlante. Barry Keoghan non ha lo spazio necessario per emergere pienamente, intrappolato in un ruolo abbastanza stereotipato e che non concede, insieme al minutaggio, grandi margini di sviluppo. Dopo The Idol, Abel “The Weeknd” Tesfaye si riconferma, purtroppo, inadatto a sostenere un ruolo da protagonista. Forse ancora ancorato alla dimensione del videoclip, appare costantemente fuori luogo, tanto da non risultare credibile persino nel ruolo di sé stesso.

    Forse, nelle intenzioni iniziali, c’era davvero la volontà di dare un volto e una voce ai propri demoni interiori, un percorso che Tesfaye aveva già intrapreso nei suoi video musicali. Ma alla resa dei conti, tutto sembra finire per orientarsi più verso l’autocelebrazione che verso l’autenticità. Anche il tanto atteso climax, che dovrebbe rappresentare una catarsi – o meglio una rinascita – si riduce a una pseudo-confessione egoriferita, in cui Abel informa il pubblico di come anche dietro le sue hit da classifica si nascondano veri e propri traumi e sofferenze.

    Quello che dovrebbe essere un percorso di smascheramento interiore finisce per essere un esercizio di auto-mitizzazione, più interessato a preservare il personaggio che a distruggerlo.

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    Simone Pagano,
    Redattore.

  • Recensione Elio – Leggero come le stelle

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    L’infinitamente piccolo e l’infinitamente grande. La ricetta della Pixar è ben nota da trent’anni, sempre capace di conquistare i più piccoli e far scendere una lacrima, o più di una (vero, sequenza iniziale di Up?) agli adulti, ieri come oggi. Nel caso di Elio, l’infinitamente grande è là fuori, a portata di telescopio. È ciò che ci schiaccia nella solitudine quando ci troviamo di fronte a un universo di possibilità, troppo grande per noi soli.

    Figlio di un cambio di regia in corsa (dall’originale Adrian Molina a Madeline Sharafian e Domee Shi, quest’ultima già regista di Red) e di ritardi e rinvii nella produzione, Elio non sembra arrivato esattamente sotto i migliori auspici; in un periodo in cui l’animazione mainstream americana ha cominciato a virare verso nuove strade. 

    La vita, l’universo e tutto quanto

    Elio è completamente solo nell’universo. Da poco orfano di entrambi i genitori e affidato alla zia Olga, maggiore di stanza in una base militare, Elio trascorre le solitarie giornate nella speranza di venire rapito dagli alieni, che cerca di contattare in tutti i modi. Quando infine ci riesce, il primo contatto lo porta nella sede del Comuniverso, una sorta di organizzazione galattica dove Elio, spacciatosi leader della Terra, si sentirà finalmente a casa. Ma la (millantata) carica comporta delle responsabilità: su tutte, fermare i distruttivi piani di Lord Grigon, a capo di una specie di bellicosissimi alieni un po’ Klingon, un po’ Imperatore Zurg da Toy Story, in realtà enormi tardigradi con altrettanto enormi problemi con le figure genitoriali.

    Come dicono in un precedente capolavoro Pixar ambientato tra Terra e stelle, “c’è tanto spazio nello Spazio”. Fin troppo, per un bambino con poca autostima, vessato dai bulli e senza un vero amico. Ma se, là fuori, ci fossero altre creature altrettanto smarrite e sole come te?

    C’è qualcuno?

    Un contesto – la sede del Comuniverso – che riunisce le più strane creature, ognuna con la sua specificità. Il viaggio spaziale di Elio sembra l’occasione perfetta per sfoggiare un po’ di muscoli sul dispiego di mezzi, ma anche per esibire quella vena sperimentale che aveva reso i vari stadi della psiche di Inside Out così variegati e interessanti da visitare. Non appena Elio sbarca nel Comuniverso, il film lascia appena subodorare il brivido della scoperta che, da sempre nei film Pixar, fa leva sulla diversità degli ambienti e dei personaggi. E così è, almeno all’inizio: grazie soprattutto ad alcuni personaggi particolarmente azzeccati, tra cui il computer con tutte le risposte a tutte le domande dell’Universo (senso della vita compreso!) e all’adorabile Glordon, il figlio di Lord Grigon, che diventa il migliore amico di Elio. Ma la sua presenza nella storia dura poco, e così la maggior parte delle peculiarità della galassia di Elio, esplorate in fretta e raramente recuperate. Elio ci porta fino alle stelle, ma non molto oltre: il cuore del film è alle sue spalle.

    Presentato il nocciolo del conflitto con Lord Grigon, Elio (personaggio e film) vengono catturati in una storia di formazione perfettamente convenzionale anche se, non per questo, banale. Tutt’altro: il cuore è sempre presente al centro di questa storia di solitudini e lutto. Un ragazzino, il suo migliore amico alieno, una figura di genitore adottivo in crisi: la Pixar ha saputo costruire grandi capolavori con molto meno. Questa volta, con tutto lo spazio a disposizione, ha invece intrecciato un racconto volutamente in minore, spesso scombinato nel ritmo, troppo lento a partire e fin troppo veloce nello svolgimento, ma sempre profondamente sincero nel mostrare il cuore dei personaggi.

    Consigliato ridurre le aspettative, quindi? Non necessariamente. Per citare un altro appassionato di alieni, “la verità è la fuori”; ma, per una volta, è altrettanto interessante (se non di più) cercarla anche qui, a livello del suolo, preferendo uno sguardo iper-ravvicinato alle ampie vedute del cosmo.

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    Valentino Feltrin,
    Redattore.

  • Recensione Tre amiche – Il mondo delle relazioni tra verità e bugie

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    Emmanuel Mouret torna a esplorare il mondo delle relazioni con Tre amiche, presentato in concorso alla 81ª Mostra internazionale d’arte cinematografica di Venezia.

    Alice (Camille Cottin), Rebecca (Sara Forestier) e Joan (India Hair), tre insegnati lionesi molto legate, si trovano ad affrontare l’intricato universo dei sentimenti: la prima è sposata con Éric (Grégoire Ludig), ma non lo ha mai amato; la seconda sta con un uomo già impegnato; la terza ha deciso di lasciare suo marito Victor (Vincent Macaigne). Proprio da questa rottura scaturiranno le vicissitudini che si svolgeranno nell’arco narrativo.

    Le protagoniste sono molto differenti tra loro e hanno un modo diverso di vivere i legami. L’intero racconto si posa sul carattere dissimile delle donne, che si consigliano a vicenda trovandosi spesso in situazioni piuttosto ambigue. 

    Molti rapporti si basano sulla menzogna, veicolo di cui il film si serve per muovere le figure di questa storia. Nessuno è mai completamente sincero e la bugia serpeggia tra tutti, pronta a rompere un equilibrio sempre troppo precario.

    La sceneggiatura, scritta dallo stesso regista insieme a Carmen Leroi, poggia le sue basi su un gioco del non detto, su una gara a nascondere verità troppo scomode. 

    Una scrittura semplice ed elegante riesce a donarci una visione di insieme che si intreccia e si scioglie continuamente, ripetendosi e aggrovigliandosi senza sosta. 

    Attraverso una comicità dolceamara scopriamo che l’amore è fragile, incerto e occasionalmente imprevisto.

    È interessante l’utilizzo della voce narrante, Macaigne è una presenza-assenza costante nel lungometraggio, racconta i fatti da interno e simultaneamente da esterno, spostandosi nel tempo e rendendo le scene molto più animate. 

    Victor è un osservatore sia silente che parlante, si mette in discussione in quanto persona che darà vita agli eventi. Bisogna guardare da fuori per raggiungere delle consapevolezze che dentro erano impossibili da afferrare, ma a volte la soluzione arriva tardi, quando non può più essere d’aiuto.

    Mouret ci propone delle coppie leggere, talvolta superficiali, che non vogliono saperne della profondità, ma desiderano adagiarsi su quella “felice complessità” di cui parlava il libro del vicino Thomas (Damien Bonnard), senza alcuna intenzione di “aggiungere dolore al dolore”. Ogni tanto però spunta il senso di colpa, che inibisce e crea un freno immaginario difficile da sbloccare.

    Una regia dinamica ci fa entrare nella complicata esistenza di queste quarantenni confuse attraverso frequenti zoom sui loro volti, sequenze ambientate in case piene di oggetti che le rappresentano e una città che diventa parte integrante del tutto, come sottolinea il voice over all’inizio.

    I ponti, i palazzi, i musei e i parchi di Lione si fanno spazio nelle inquadrature, fungendo non solo da sfondo, ma da fulcro essenziale degli avvenimenti. 

    Una luce naturale illumina le strade di un posto raffinato e poetico, che si adatta perfettamente a questa trama.

    Tre amiche ci insegna che gli incontri amorosi si impongono, non lasciano scelta, come se ognuno vi inciampasse senza volerlo. Gli errori si compiono in quasi tutti i passi, ma sono utili per imparare, o forse no.

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hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" width_medium="" width_small="" width="" min_width_medium="" min_width_small="" min_width="" max_width_medium="" max_width_small="" max_width="" margin_top="-12" margin_right="" margin_bottom="" margin_left="" fusion_font_family_text_font="" fusion_font_variant_text_font="" font_size="" line_height="" letter_spacing="" text_transform="" text_color="" animation_type="" animation_direction="left" animation_color="" animation_speed="0.3" animation_delay="0" animation_offset="" logics=""]

    Maria Cagnazzo,
    Redattrice.

  • Recensione Volveréis – Una storia d’amore quasi classica – Il cinema al servizio di una separazione

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    Nel 1843 Søren Kierkegaard sosteneva che “l’unico amore felice è quello della ripetizione. Al pari dell’altro non conosce l’inquietudine della speranza, la sfida angosciosa della scoperta, ma in più gli è ignota la mestizia del ricordo – ha la sicurezza beata dell’istante”.  Su questo concetto insiste Volveréis – Una storia d’amore quasi classica di Jonás Trueba, presentato al Festival di Cannes 2024 e premiato alla Quinzaine des Cinéastes.

    In una Madrid di fine estate la regista Ale (Itasaso Arana) e l’attore Alex (Vito Sanz) hanno deciso di lasciarsi dopo 15 anni di relazione, ma affrontano la rottura con serenità e pensano di celebrarla con una grande festa, che si terrà nell’ultimo giorno della bella stagione, il periodo più nostalgico dell’anno. Su tali premesse si basa un film apparentemente semplice che invece indaga le connessioni umane adoperando il cinema stesso come mezzo.

    L’elemento meta-cinematografico è preponderante nella vicenda: stiamo assistendo a eventi reali o alla messa in scena della macchina da presa? Continuiamo a porci questa domanda comprendendo però che non c’è una linea di demarcazione tra la verità raccontata e quella accaduta, il confine tra la sala e la vita è decisamente labile, i due mondi non possono essere scissi.

    In una società complessa in continuo mutamento anche i rapporti si evolvono e così Trueba ci trascina in questa fine mai amara, sempre vestita di quiete e pace. Siamo di fronte a una coppia perfetta e simbiotica, mai sapremo i motivi che li hanno spinti all’allontanamento. I loro amici li ritenevano un modello da seguire, un esempio che adesso non ha più ragion d’essere.

    Perfino lo spettatore, accolto in una casa piena di libri e di memorie, osserva una quotidianità che sembra non avere pretesti per rompersi.

    La sceneggiatura è colma di dialoghi che non danno mai una svolta alla trama, ma che sono essenziali per approfondire i personaggi. La ripetitività è fondamentale: i due continuano a ribadire di stare bene, quasi come un mantra, quasi per convincersi che sia vero.

    Non avvengono trasformazioni, non vi sono grandi cambiamenti, sono le conversazioni e i fatti ad alimentare il motore del racconto. Non si vuole insegnare nulla e non c’è alcuna intenzione di sorprendere, l’obiettivo è solo quello di descrivere una situazione plausibile.

    Ripensare al passato, vivere il presente o elevarsi al futuro? Queste opzioni si pongono dinanzi a loro continuamente, anche attraverso i tarocchi di Bergman (menzionato in più occasioni).

    Le carte aiutano a immaginare quello che sarà, a distinguere un domani in cui non esisterà più un “noi”, in cui le certezze conservate tra gli scaffali colmi di oggetti si posizioneranno in grossi scatoloni, pronte a trasformarsi, a sciogliere due facce identiche (non è un caso la scelta dei nomi dei protagonisti) per renderle diverse e indipendenti.

    La sequenza con Fernando Trueba (padre di Jonás nella realtà e di Ale nella finzione) è probabilmente la più significativa, in quanto si esplicita il fulcro sul quale posa il lungometraggio. Viene qui citato Stanely Cavell, il filosofo statunitense secondo il quale l’autenticità di un matrimonio è verificabile nel momento in cui risulta impossibile divorziare.

    L’idea della possibilità di un ritorno si ripropone in tutto l’arco narrativo, dal titolo alle continue affermazioni fiduciose di conoscenti e parenti. Tornare ancora, ripercorrere gli stessi passi è utile? Può essere necessario? Forse lo scopriremo nel finale.

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    Maria Cagnazzo,
    Redattrice.

  • Recensione Dragon Trainer – Dove c’è anima e non c’è plastica

    Dragon Trainer trova finalmente ciò che manca agli altri live action: un briciolo di anima
    La saga di Dragon Trainer è una delle più fortunate di casa DreamWorks, e sicuramente la più recente tra quelle effettivamente divenute di culto. Liberamente ispirata alla fortunata serie di libri How to Train Your Dragon (che in italiano diventa Le eroiche disavventure di Topicco Terribilis Totanus III) di Cressida Cowell, si compone di tre film usciti tra il 2010 e il 2019, una serie animata di più di 100 episodi e una manciata di cortometraggi. La scelta di produrre un remake dal vivo, praticamente identico nelle inquadrature al cartone, si è rivelata più sensata del previsto. 
    Ci troviamo nel villaggio vichingo dell’isola di Berk, tutta la popolazione deve fare fronte quotidianamente alle razzie dei draghi e la vita di ogni membro della comunità è dedicata al combattimento. Hiccup, figlio del capo del villaggio Stoik l’Immenso, è ambizioso e intelligente ma anche impacciato e per nulla adatto a combattere, a lui viene precluso l’addestramento con le armi ed è costretto a fare da assistente al fabbro Scaracchio. Durante un’incursione notturna dei draghi grazie ad una sua invenzione riuscirà ad abbattere un esemplare della razza di drago più letale e misteriosa, la Furia Buia, e questo gli permetterà di conoscere i draghi come nessun vichingo prima di lui. 

    L’originale animato è stato diretto da Dean DeBlois insieme a Chris Sanders, che prima di approdare a Glendale avevano diretto insieme Lilo e Stitchper la Disney nel 2002, e il caso (o un piano distributivo ben studiato) ha voluto che entrambi i film vedessero una nuova luce nei primi caldi estivi del 2025. Se però Lilo e Stitchsembra l’ennesimo pupazzone live action Disney, la ferma volontà di Dean DeBlois di curare in prima persona il progetto ha permesso al film di mantenere una direzione precisa senza risultare stucchevole come il suo fratello rivale. Niente atmosfere fiabesche di plastica, uso sensato e consapevole dei momenti migliori del film originale (come la scena del primo volo), valorizzazione della sua colonna sonora (probabilmente la migliore di casa DreamWorks dai tempi de Il Principe d’Egitto) e amalgama credibile dei draghi con i set reali. In breve, Dragon Trainer ha un’anima, che si esalta nella forza materica e naturaleche emerge quanto possibile in un film che è comunque un blockbuster di Hollywood per ragazzi attraverso roccia, erba, acqua, vento e ovviamente il fuoco dei draghi.

    Sdentato, il fratello oscuro, meno pelosone ma altrettanto tenero di Stitch è identico al film e la scelta paga. Resta quel mischione adorabile tra un gatto, un lucertolone e un pipistrello e forse si è persa l’occasione di renderlo un po’ più minaccioso. Gli altri draghi restano comunque abbastanza gradevoli e la Morte Rossa, il drago madre, un po’ boss finale da videogioco, un po’ Vhagar di House of the Dragon e un po’ kaijū, è un po’ meno vivo della sua controparte animata.
    La scelta del cast umano è abbastanza azzeccata. Mason Thames come Hiccup ci mostra una versione comunque più atletica e sicura di sé del nerd magrolino quale era Hiccup nel cartone, Gerald Butler riprende il ruolo che aveva interpretato solo vocalmente con molta leggerezza (e il rischio di risultare seriosamente fuori luogo era bello alto), e Nick Frost nel ruolo di Scaracchio è sempre adorabile. Nel gruppo dei ragazzi sembra un po’ di rivedere i protagonisti degli ultimi Spiderman del Marvel Cinematic Universe: Nico Parker/Astrid è un po’ Zendaya/MJ, il nerdone grasso fissato con le statistiche dei draghi Julian Dennison/Gambedipesce ricorda Jacob Batalon/Ned e il buffone arrogante ma bonario Gabriel Howell/Moccicoso è Tony Revolori/Flash. 

    Si calca sicuramente meno la mano sull’aspetto della menomazione fisica e della disabilità che riguarda più di uno dei nostri protagonisti e si cerca sicuramente di dare maggiori messaggi pacifisti (con la speranza che i figli interrompano le guerre dei padri) e di fratellanza tra popoli (a Berk troviamo persone da ogni parte del mondo) ma senza scivolare nella retorica spicciola.
    La cassa sta battendo bene, resta da vedere se draghi e vichinghi riusciranno nell’impresa difficile di battere alieni e hawaiani e, se nel futuro, torneremo a Berk.

    Nicolò Cretaro,
    Redattore.

  • Recensione Ballerina di Len Wiseman

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    Vedere la morte sul grande schermo non disturba, anzi piace, eccita.
    Forse perché pensiamo che sia tutto finto, che chi muore sia cattivo e meriti di fare quella fine (come se non esistessero sistemi giudiziari in una società civile e fosse ancora in vigore la Legge del Taglione).

    È difficile soffermarsi sulla spettacolarità delle riprese, degli effetti speciali, delle coreografie quando quella violenza reale e tremenda, quel sangue, quelle urla si presentano sugli schermi dei nostri telefoni ogni giorno e ad ogni ora.

    James Bond, Ethan Hunt: assassini assoldati per proteggere il mondo intero da nemici potenti.
    John Wick: un assassino che uccide per vendetta, per se stesso, per il proprio ego, per avere una giustizia che non potrà mai avere, per uscire dal pantano nel quale si è infilato. Eve Macarro, interpretata da una sempre coinvolgente Ana de Armas (Blonde, Blade Runner 2049, Eden, No Time To Die) e protagonista di Ballerina (2025), non è da meno. 

    Il film diretto da Len Wiseman (Underworld, 2003; Underworld: Evolution, 2006; Live free or Die Hard, 2007) è il “sidequel” di John Wick 3 – Parabellum (2019).
    Gli eventi infatti si sviluppano in contemporanea a quelli del terzo capitolo della saga diretta da Chad Stahelski (John Wick 1, 2, 3, 4).

    Dopo aver assistito all’omicidio del proprio padre, Eve entra a far parte della Ruska Roma.
    È qui che incontra per la prima volta John Wick (Keanu Reeves) che la invita ad abbandonare questa seconda famiglia, ad andarsene prima che sia troppo tardi.

    Eve non gli dà ascolto e diventa una killer spietata, assetata di vendetta.
    Disobbedendo agli ordini della Direttrice (Anjelica Huston), scopre dove si nasconde la setta guidata dal temibile Cancelliere (Gabriel Byrne), responsabile della morte dei genitori, e decide di farsi giustizia da sola.
    La bomba è innescata e nessuno sembra poter evitare l’esplosione… neanche il famigerato Baba Jaga. 

    Ed eccoci quindi nuovamente a scene di combattimento coreografate alla perfezione, che mostrano la bravura degli stunt (spesso troppo poco riconosciuta), l’impegno immenso degli attori, il grande studio dietro alla scelta e descrizione di ogni arma, il lavoro millimetrico svolto in post produzione.
    Le caratteristiche del franchise sono rispettate: la macchina da presa si muove lentamente, regalando inquadrature ampie e ricche di colori saturi nelle quali lo spettatore può immergersi. 

    Il senso di freneticità e azione non è dato dal montaggio serrato o da movimenti di macchina rapidi ma dalle acrobazie di attori e stunt. 

    Proprio come Reeves, Ana de Armas si è allenata per mesi per imparare a maneggiare armi da fuoco, praticare arti marziali, combattere corpo a corpo.  

    Anche in queste 2 ore e 5 minuti, come nelle quasi 9 ore della saga, i minuti destinati al dialogo sono pochi. Le frasi pronunciate dai personaggi sono limitate ed estremamente prevedibili ma la sceneggiatura non si regge sicuramente su queste e del resto: chi ha tempo di parlare tra pugnalate, granate, colpi di pistola e lanciafiamme?

    Quest’ultimo oggetto in particolare dà vita ad una delle sequenze di lotta più suggestive della pellicola che si conclude con uno scontro tra acqua e fuoco che ricorda molto quello tra fasci di luce emanati dalle bacchette di Harry Potter e Voldemort (Harry Potter e i Doni della Morte pt.2, 2011).
    Questa netta contrapposizione tra male e bene non è così netta e forse non c’è proprio.
    Certo, noi spettatori siamo portati a empatizzare con Eve, a sostenerla nel suo percorso e nel suo tentativo di salvare altre bambine dal suo stesso destino ma è impossibile non pensare a quanti lutti lei stessa ha causato per raggiungere un obiettivo egoistico: la vendetta.
    La vendetta porta sempre ad altro sangue e ad un possibile sequel, successo al botteghino permettendo.
    Keanu Reeves ha passato il testimone ad una donna che deve combattere “like a girl”.

    Questo classificare secondo stereotipi di genere cosa è “da donna” o “da uomo” è sempre molto pericoloso, anche per chi parte con le migliori intenzioni.

    Concludo accennando ad un tema che ho trovato interessante: la critica all’ideologia.
    Secondo Treccani, “l’ideologia è, nel pensiero sociologico, il complesso di credenze, opinioni, rappresentazioni, valori che orientano un determinato gruppo sociale; anche, ogni dottrina non scientifica che proceda con la sola documentazione intellettuale e senza esigenze di puntuali riscontri materiali, sostenuta per lo più da atteggiamenti emotivi e fideistici, e tale da riuscire veicolo di persuasione e propaganda”.
    In questo capitolo della saga, un intero villaggio va incontro alla morte perché così gli è stato ordinato. Non lo fa per soldi, per gloria, per vendetta, per difendersi. Lo fa perché così è stato insegnato. Viene usata la violenza senza nemmeno sapere chi sia il nemico, se sia effettivamente un nemico.
    L’ideologia disumanizza, l’ideologia avvelena, l’ideologia uccide.

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    Eva Sternai,
    Redattrice.

  • Recensione Aragoste a Manhattan – Tutto quello che non avreste voluto sapere sulla cucina ma che avete osato chiedere

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    Aragoste a Manhattan (La cocina) è l’ultima pellicola di Alonso Ruizpalacios, presentata al Festival di Berlino 2024 e uscita nelle sale italiane solo giovedì scorso grazie a Teodora Film.
    La sceneggiatura, ispirata all’opera teatrale The Kitchen, scritta nel 1957 dal drammaturgo inglese Arnold Wesker, si basa anche sull’esperienza dello stesso regista, che ha lavorato in una cucina a Piccadilly Circus per pagarsi gli studi in Inghilterra.
    Ambientare il film nella cucina del The Grill a Times Square (NY) ha permesso di denunciare la condizione delle persone clandestine che vivono e lavorano negli Stati Uniti nell’eterna attesa di essere regolarizzati.

    La freneticità della metropoli e del servizio sono resi sullo schermo da fotogrammi che sembrano dipinti futuristi. La macchina da presa cerca di catturare il movimento inafferrabile e irrefrenabile, come se fosse un pennello tra le mani di Boccioni o Balla. L’immagine, in un bianco e nero scelto per far calare lo spettatore all’interno di una favola senza tempo, si frammenta e si ricompone senza sosta. 

    Il fruitore è frastornato, proprio come Estela (Anna Diaz) che arriva a New York senza sapere l’inglese, senza riuscire a comunicare con l’infinità di persone che la circondano.
    Il suo personaggio, più un espediente per introdurre i protagonisti e le dinamiche della cucina stessa, viene accompagnato tra i corridoi labirintici del ristorante, come un prigioniero che viene scortato verso la sua cella in un carcere penitenziario. 

    Il senso di claustrofobia è dato anche dall’uso del formato 4:3, in opposizione al formato più ampio che viene utilizzato per le scene girate in esterno. Lo spettatore resta imprigionato tra i fornelli della cucina e nell’immagine stessa.

    È in questo luogo rigorosamente geometrico ed estremamente rumoroso che Estela incontra Pedro (Raúl Briones, attore che era già stato diretto da Ruizpalacios in Gueros, Una película de policías, Verde), un cuoco aggressivo, caotico, egocentrico, violento, irresponsabile.
    Pedro, come molti altri colleghi, vorrebbe fuggire da quella trappola per turisti che spendono soldi per mangiare cibo spazzatura. 

    Anche lui, come molti altri, spera di ricevere il proprio Visa e di poter vivere come un cittadino regolare degli Stati Uniti. Crede nelle false promesse pronunciate dal padrone del locale, uno sfruttatore secondo il quale un uomo nella vita deve accontentarsi di poter mangiare e ricevere una paga, senza desiderare altro.

    Nella cucina, un po’ come su una nave pirata, la gerarchia è ferrea e l’incomunicabilità non è causata solo dalle diverse lingue parlate ma anche dalla non predisposizione a empatizzare con l’altro.
    Commenti machisti e sessisti riecheggiano tra il rumore di lattine di birra che vengono aperte una dopo l’altra e grida che esortano a tornare a lavoro.

    I cuochi non si chiamano per nome ma si identificano tramite il Paese di provenienza: Messico, Colombia, Marocco… L’accettazione o la tolleranza del diverso sembra difficile anche in un contesto così multiculturale.
    È proprio tra la mura del The Grill che Pedro incontra Julia (Rooney Mara, attrice premio Oscar nota per le sue interpretazioni in The girl with the dragon tattoo e Carol), una cameriera statunitense, con la quale ha una relazione.
    Julia è incinta di dieci settimane ed è decisa ad abortire. Per farlo ha bisogno di soldi, circa della cifra che scompare dalla cassaforte del locale.

    Inizia quindi una caccia alle streghe per trovare il responsabile del furto.
    Nel frattempo, Pedro vuole convincere Julia a non porre fine alla gravidanza indesiderata. Si immagina di crescere il figlio (sì, sarebbe dovuto essere rigorosamente maschio) insieme alla donna amata nella sua terra natale, il Messico. 

    Eppure questo sogno è e resta unicamente ed egoisticamente suo.
    Vuole diventare padre quando ha ancora la mentalità di un bambino impulsivo e manesco che non riesce a prevedere le conseguenze delle proprie azioni, che tira bottiglie di vetro addosso ai colleghi durante la pausa pranzo, che provoca senza capire quando dovrebbe smettere, che resta deluso quando si confronta con la realtà, che perde il controllo quando viene sottoposto all’ennesima fonte di stress, determinando il proprio tragico finale. 

    La critica sociale è evidente e potente, nonostante in certi momenti tenda a smarrirsi tra il virtuosismo formale, le urla e i litri e litri di Diet Coke che invadono e pervadono la cucina.
    La vita quotidiana degli invisibili, macchine produttive di un sistema capitalista spietato, è narrata per 139 minuti, con un ritmo instancabile.
    Cosa accade dopo aver attraversato il confine? Cosa succede quando si arriva in un Paese che non è disposto ad accoglierti, in un Paese dove c’è troppo di tutto ma non abbastanza per tutti?
    Aragoste a Manhattan, con le sue inquadrature simmetriche alla Hopper e i suoi carrelli laterali, si allontana dal realismo e introduce la componente fantastica, perché la speranza nel miracolo non può essere soffocata nemmeno da un luogo tanto angusto. 

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    Eva Sternai,
    Redattrice.

  • Recensione L’amore che non muore

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    Non si deve credere a Jackie (Adèle Exarchopoulos) quando, nel primo incontro dopo anni con il suo amato Clotaire (Francois Civil), dice che non ha ma ripensato alla loro storia d’amore con nostalgia. Ma per il semplice fatto che il film di Gilles Lellouche costruisce il suo baricentro proprio attorno a questo sentimento, così ingannevole e inafferrabile, ma a cui vengono ricondotti tutti i momenti centrali della vita dei due protagonisti. Che sia tramite l’ossessiva presenza di poster di band o cantanti alle pareti, i vestiti d’epoca che tutti i personaggi indossano con naturalezza posticcia, le musiche o i riferimenti cinefili espliciti a opere del periodo, l’obbiettivo del regista è quello di ricreare le epoche in cui hanno luogo i fatti, stilizzandone i loro caratteri più riconoscibili ed inserendovi una tormentata storia d’amore fra due giovani che cresceranno insieme.

    Quinto incasso francese per lo scorso anno con ben 38 milioni di euro, L’Amore che non Esiste è un film ingombrante, infarcito di barocchismi, quasi spropositato e carico di tantissime intuizioni visive e trucchetti reiterati, che punta al racconto epico di formazione rifiutando compromessi e utilizzando un linguaggio che contrappone momenti di ingenua tenerezza adolescenziale e di dramma mai troppo serio ad un uso del mezzo cinema didascalico e piacevolmente fastidioso. 

    Anni ’80. Dopo aver perso la madre in un terribile incidente la piccola Jackie rimane sola con il padre che la cura teneramente. Nella stessa cittadina portuale vive Clotaire, indisciplinato figlio di una numerosa famiglia proletaria. Arrivati alle scuole superiori i due si innamoreranno, ritrovandosi ad avere quell’affinità che solo chi non ha nulla in comune può condividere. Ma Clotaire finirà presto in traffici molto più grandi di lui, che lo costringeranno ad allontanarsi forzatamente da Jacqueline (lui le aveva affibbiato il soprannome Jackie) per molti anni. Reincontratisi dopo un decennio i due cercheranno di capire se quell’amore di gioventù abbia resistito al tempo e alla vita.

    Fra Micheal Mann e Il tempo delle mele, Lellouche costruisce un melò crime e coming-of-age che mette al centro la sua inventiva visiva. Un film di formazione cha ambisce al racconto totale di un romanzo ottocentesco, e che cerca di raggiungere il suo obbiettivo concentrandosi maggiormente sui valori formali che su quelli contenutistici. A partire dalla ricostruzione storica che alle volte risulta fastidiosa per quanto è decisa a mettersi in mostra, una sequela di pezzi d’arredamento e cimeli che oltrepassano la pura funzione di supporto alla credibilità dell’epoca rappresentata, ma che riempiono maggiormente gli occhi rispetto alle storie dei personaggi, soprattutto quelli di contorno, per i quali si percepisce, a corrente alterna, un’enorme empatia, ma che comunque soccombono al peso di tutte le istrioniche scelte estetiche messe in campo da Lellouche. Un continuo susseguirsi di zoom lenti o rapidissimi, split-diopter, scene che sfocano l’una dentro l’altra, colori portati a livelli di saturazione degni dei migliori Technicolor, rifuggono la staticità della narrazione anche se, così facendo, viene sacrificata la stratificazione/problematizzazione delle situazioni messe in scena, cosa che toglie sapore a tutta l’opera ma che, soprattutto, si traduce in un didascalismo visivo che reitera più volte ciò che già si sa o già si è capito. Ed è proprio quando si ferma un attimo a riprendere fiato che il film funziona. 

    Il corteggiamento iniziale fra il ragazzaccio che ha abbandonato la scuola e la principessa borghese, è puro materiale da commedia teen anni ’80 (Il tempo delle mele appunto, anche se forse più il secondo). Ed è attraversando un passaggio già solcato da tantissimi altri che Lellouche rimescola le carte in tavola, lavorando con le luci e i colori esterna quella tenerezza che i due giovani provano ma che difficilmente riusciranno a tirare fuori perché la figuraccia è dietro l’angolo. Con una stupenda scena di ballo a due (saltando da un tavolo all’altro nella mensa scolastica) ogni pudore viene annientato ed inizia l’idilliaco amore adolescenziale che sembrerebbe non conoscere differenze di classi e, soprattutto, la fine. Un tripudio di amore barocco ed ingenuo si inceppa nelle intricate trame di una storia di bande e rapine, e Lellouche inizia a perdere il controllo di un film comunque dolcissimo e diverso da tutto il resto.

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    Gianluca Meotti,
    Redattore.