FRAMES CINEMA

Tag: sofia coppola

  • Cartoline dal Lido, giorni 6 e 7 – Portobello, The Testament of Ann Lee, The Smashing Machine, Marc by Sofia

     

    Portobello (Ep 1-2), di Marco Bellocchio – Fuori Concorso

    A cura di Silvia Strambi

    Per due generazioni di italiani, i nomi ‘Portobello’ ed ‘Enzo Tortora’ riporteranno alla mente allegri ricordi di serate trascorse di fronte alla televisione in compagnia di rubriche e personaggi variopinti, in attesa che un pappagallo verde ripetesse una parola magica. Altrettante persone ricorderanno lo scandalo mediatico legato a Tortora, mattatore di quello strano circo che era il programma Portobello, accusato di legami con la Camorra e detenuto ingiustamente per anni.
    Dopo averci raccontato la vicenda Aldo Moro in Esterno notte, Marco Bellocchio torna con una nuova serie assieme all’attore protagonista Fabrizio Gifuni. Gifuni è Tortora, affiancato nel cast da Lino Musella nel ruolo del suo accusatore principale, Giovanni Pandico, e da Romana Maggiora Vergano (C’è ancora domani) nei panni della sua amante, Francesca. I primi due episodi della serie sono stati presentati alla Mostra del Cinema di Venezia in questi giorni, in attesa dell’uscita della serie completa, prevista nel 2026 su HBO Max.
    Quello che si vede dalle prime puntate è decisamente promettente. Il primo episodio ci lascia più in compagnia di Pandico che di Tortora, introducendoci ai conflitti interni alla Camorra e alle turbe mentali del Pandico per farci comprendere le motivazioni alla base della sua denuncia. Ciò che riguarda Tortora, nel primo episodio, diventa uno specchio doloroso nel secondo: amato dal pubblico e dal suo staff, investito della carica di Commendatore, la fama e l’amore che riceve dalle telecamere si trasforma in condanna e pubblico lubridio all'alba dell’arresto.
    Dal poco che possiamo vedere, sembra che il discorso sulla responsabilità dei media nei casi mediatici proseguirà per il resto della serie. Allo stesso modo, possiamo ipotizzare un interesse nei riguardi della successiva carriera politica di Tortora e un commento attorno alla crasi tra figure del mondo dello spettacolo e della politica.
    Quello che abbiamo visto finora è comunque promettente e decisamente interessante e, ci permettiamo di dire con un po' di malizia, un’ottima strategia da parte di HBO Max per accalappiare abbonati.

    The Testament of Ann Lee, Mona Fastvold – In concorso 

    A cura di Eva Sternai

    Mona Fastvold, regista di The World to Come (2020) e co-sceneggiatrice del più recente The Brutalist (2024), Leone D’Argento all’81 Mostra Internazionale d’Arte Cinematografica, regala un biopic musicale maestoso ma non sorprendente.
    La voce narrante accompagna lo spettatore attraverso le fasi della vita di Ann Lee: leader del movimento religioso degli Shakers, diffusosi con reticenza nel XVIII secolo prima in Inghilterra e poi negli Stati Uniti in lotta per l’indipendenza.
    La fede viene professata lavorando duramente, astenendosi dall’avere rapporti sessuali e attraverso riti  di liberazione dell’anima visivamente coinvolgenti. I canti, elemento centrale della pellicola, sono riadattati dal compositore Daniel Blumberg (The Brutalist, The World to Come, Sotto le Nuvole) a partire dagli originali. Le coreografie, curate da Celia Rowlson-Hall (X, VoxLux), coordinano un turbinio di corpi liberi, grotowskiani, che riempiono in estasi lo schermo.
    Amanda Seyfried, che aveva già collaborato con Fastvold in The Crowded Room (2023), si cala completamente nel ruolo stremante di Mother Ann, la seconda figlia di Dio. L’opera, girata in 70mm, celebra una donna forte, ribelle e dimenticata, fondendo il genere musical a quello del film in costume e restando fedele ai canoni. È forse proprio a causa di questo rispetto dei canoni e della riproposizione di schemi già sperimentati che l’ambizioso progetto risulta essere meno impattante di quanto avrebbe potuto.

    The Smashing Machine, di Benny Safdie – In concorso

    A cura di Nicolò Cretaro 

    Arriviamo al film con i comprensibili pregiudizi. Dwayne Johnson, una delle personalità più potenti dello star system vuole costruirsi una solida credibilità artistica, e la ricetta è servita. La storia di un lottatore a richiamare la precedente carriera nel wrestling di The Rock, la presenza a Venezia dove aveva trionfato The Wrestler dando un ultimo sussulto di gloria a Mickey Rourke, il logo A24 all'inizio del film (non accolto dai consueti e sinceramente stancanti applausi), la mano di Benny Safdie.
    Nel film mancano i due elementi che si davano per scontati: l'Oscar Moment e la classica struttura da film sportivo, e forse il bello è proprio questo. The Rock è sorprendentemente sotto traccia per la maggior parte del film, interpretando un personaggio che trova la sua solidità emotiva nel momento in cui perde quella agonistica, nonostante le spalle gigantesche sempre inquadrate. Cerca una virilità che forse lui stesso non ha mai dato per scontato, contrastato da una Emily Blunt mai stata più esuberante. Forse l'apparente mancanza di lotta ci conduce verso l'equilibrio del protagonista. Ci è cresciuto dentro nelle ore successive, e i premi non sono un miraggio.

    Marc by Sofia, Sofia Coppola – Fuori Concorso

    A cura di Silvia Strambi

    Lo stilista Marc Jacobs organizza una sfilata di moda. La regista e sua amica di lunga data Sofia Coppola riprende il processo creativo.
    Basta questo per raccontare il nuovo documentario Marc by Sofia, non fosse che la regista è, appunto, Sofia Coppola. I due parlano dell’ispirazione creativa di Jacobs, della sua storia come stilista, dei suoi dubbi di artista. Ma dello stile distintivo di Coppola, nonostante la sua presenza fisica e di voce fuori campo che fa domande, non c’è nulla se non una singola inquadratura sul finale che ricorda il suo debutto e le sue ‘Vergini Suicide’. Così com’è, Mark by Sofia è un documentario alquanto semplice che svolge il suo lavoro bene, ma a mo' di compitino scolastico.
    Redazione.

  • Bill Murray: oltre la commedia – 3 film d’autore in cui ha recitato

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    Uno dei maggiori problemi che affligge gli attori specializzati in commedie popolari è che spesso restano ingabbiati in un ruolo iconico, senza riuscire ad emergere in opere con toni differenti o nel cinema d’autore nonostante le capacità recitative. 

    Negli ultimi anni però, molti di questi attori sono riusciti a stupire interpretando ruoli molto lontani dai loro standard, convincendo totalmente sia il pubblico che la critica.

    Tra questi assume grande rilievo Bill Murray che è riuscito a guadagnarsi uno spazio nel cinema d’autore dopo aver interpretato l’iconico acchiappafantasmi Peter Venkman in Ghostbusters (1984). L’attore infatti dopo il successo di Ghostbusters ha continuato a cavalcare l’onda della commedia (con alcune eccezioni) fino alla seconda metà degli anni novanta, periodo in cui ha intrapreso definitivamente la sua carriera nel cinema d’autore collaborando con registi del calibro di Sofia Coppola, Jim Jarmusch, Tim Burton o Wes Anderson, quest’ultimo regista feticcio con cui lavorerà ad un totale di 9 film.

    Per evidenziare questa connessione tra l’attore e il cinema autoriale, andiamo a vedere 3 film d’autore in cui Bill Murray interpreta un personaggio principale.

    Lost In Translation (Sofia Coppola, 2003)

    Quando si parla di Bill Murray è impossibile non citare la sua interpretazione in Lost In Translation di Sofia Coppola (Maria Antonietta, Priscilla), pellicola che lanciò definitivamente la regista nel settore vincendo l’Oscar alla miglior sceneggiatura originale nel 2004.

    Qui l’attore interpreta Bob, una star del cinema che si trova in Giappone per girare uno spot pubblicitario, quando incontra Charlotte (interpretata da Scarlett Johansson) una moglie trascurata dal marito che dà priorità al suo lavoro da fotografo. Entrambi i personaggi si sentono soli in una città sconosciuta e questo in un certo senso li unisce, nonostante la differenza d’età, fino ad arrivare ad essere più intimi.

    Il film prende forza da una sceneggiatura meravigliosa e poetica che viene perfettamente evidenziata dalle interpretazioni di Murray e Johansson che riescono a far percepire la solitudine attraverso lo sguardo e i movimenti del corpo, ma riescono anche trasmettere anche tutta la loro sintonia senza dover utilizzare le parole.

    Un film magnifico con un finale enigmatico, con l’interpretazione di Bill Murray che gli valse una candidatura agli Oscar e il riconoscimento ai Golden Globe per miglior attore in un film commedia o musicale.

    Broken Flowers (Jim Jarmusch, 2005)

    Il secondo film si intitola Broken Flowers e rappresenta la seconda delle quattro collaborazioni con il regista statunitense Jim Jarmusch (Paterson, I morti non muoiono).

    In questa pellicola Bill Murray interpreta Don Johnston, un uomo sulla sessantina che dopo esser stato lasciato dalla sua ultima ragazza riceve anonimamente una lettera che lo mette al corrente di un fatto che lo spingerà ad incontrare ognuna delle donne con cui è stato nella vita per scoprire la verità sulla lettera. 

    Qui l’attore riesce a far dimenticare l’iconico acchiappafantasmi interpretando un ruolo estremamente drammatico, nonostante alcune scene divertenti, che ripercorre la quotidianità dell’essere umano, la ricerca di se stessi e il lasciarsi dietro qualcosa, fino ad arrivare ad un finale poetico in cui lo sguardo dell’attore diventa essenziale alla narrazione.

    Nonostante Bill Murray non ottenne riconoscimenti per la sua magnifica interpretazione, il film vinse il Gran Prix Speciale al Festival di Cannes 2005.

    Le Avventure Acquatiche di Steve Zissou (Wes Anderson, 2004)

    Ultimo ma non per importanza è il film Le Avventure Acquatiche di Steve Zissou diretto da Wes Anderson, alla terza collaborazione con Bill Murray iniziata con Rushmore (1998) e continuata per altri otto film fino all’ultimo The French Dispatch (2021).

    In questo caso Murray interpreta proprio il protagonista Steve Zissou, ovvero un famoso oceanografo che durante una delle sue spedizioni perde il suo collega e amico divorato da uno squalo giaguaro. Nessuno però vuole credere alle sue parole, perciò insieme al figlio e ad una giornalista incinta iniziano un viaggio nelle acque totalmente folle per trovare lo squalo che ha divorato il suo amico.

    Il filmè una commedia che però nasconde un forte drammaticità, riuscendo a trasportare lo spettatore grazie all’estetica e alla sceneggiatura ma anche grazie all’interpretazione di un comparto attoriale stellare come è solito utilizzare il regista. Nonostante un cast d’eccezione con la presenza tra gli altri di Willem Dafoe, Owen Wilson e Cate Blanchett, Bill Murray riesce da protagonista a spiccare sugli altri anche grazie alla forza e alla complessità del personaggio che vuole omaggiare il famoso esploratore francese Jacques-Yves Cousteau, parodizzando su di esso e mostrando la capacità di spostarsi tra commedia e drammaticità anche per un personaggio così complesso.

    Il film fu purtroppo un flop al botteghino, ma rese ancora di più l’idea della forza e delle capacità di Bill Murray.

    Questi erano 3 film d’autore con protagonista Bill Murray, se ne avete visto almeno uno fateci sapere cosa ne pensate nei commenti qui sotto.

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    Michael Pierdomenico,
    Redattore news.

  • Il giardino delle vergini suicide – L’esordio di Sofia Coppola

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    Torna al cinema in questi giorni il film d’esordio di Sofia Coppola: Il giardino delle vergini suicide (The Virgin suicides), uscito per la prima volta nel 1999 negli USA e nel 2000 in Italia. Si tratta di un adattamento dell’omonimo romanzo di Jeffrey Eugenides (1993).

    Ci troviamo in Michigan, nella prima metà degli anni Settanta. Le sorelle Lisbon, Therese (Leslie Hayman), Bonnie (Chelsea Swain), Lux (Kirsten Dunst) e Cecilia (Hanna R. Hall) hanno una vita apparentemente perfetta e due genitori estremamente severi. Cecilia muore al secondo tentativo di suicidio, ma i genitori fanno in modo che il fatto venga trattato come un incidente. Quattro ragazzi del quartiere, nonché compagni di scuola delle sorelle, da quel giorno si rendono conto della vita isolata che conducono e diventano ossessionati dall’idea di indagare: prima passando più tempo con loro e poi, quando la madre le chiuderà in casa, cercando di comunicare attraverso la posta e i segnali dalla casa di fronte. Tutta la storia è raccontata in forma di flashback da uno di loro.

    L’ennui

    Il film è pervaso in maniera sottile da un’atmosfera malinconica, ma comunque abbastanza percepibile soprattutto nelle scene girate all’esterno, dove è più evidente un uso strumentale della fotografia. L’estetica che negli anni ha reso la cifra stilistica di Sofia Coppola qualcosa di riconosciuto e riconoscibile, tanto che lei stessa l’ha definita il suo personale female gaze, è già presente in questa pellicola. Dai colori opachi alla perfezione di acconciature e vestiti, questi ultimi marcatamente femminili e troppo infantili per l’età delle protagoniste, ogni immagine stride con la gravità dei fatti e le allusioni alla tragedia in corso. Le sorelle Lisbon rimangono composte e impassibili quasi in ogni momento, al punto che nemmeno il giorno in cui tornano a scuola dopo la morte di Cecilia appare diverso dagli altri. Il difetto che si può trovare a quest’opera prima è forse proprio uno sbilanciamento verso la rappresentazione di questa dissonanza, con una grande attenzione anche ai dettagli scenografici a scapito dei dialoghi, che non permette alla drammaticità dei fatti di emergere completamente. Le immagini, tra cui alcune sequenze che ricordano volutamente un videoclip musicale, sono accompagnate da una colonna sonora altrettanto sommessa e distaccata, quasi interamente costituita da un sottofondo ambient. L’album in questione era stato composto appositamente dal duo francese AIR, che la regista aveva contattato di persona, e venne poi pubblicato nel 2000 con l’etichetta discografica Source di Virgin Records.

    Dietro l’immagine

    Negli unici momenti in cui le sorelle vengono lasciate a loro stesse la patina eterea del racconto svanisce, in particolare dentro la casa o durante il ballo: scene nelle quali si comportano come adolescenti normali al pari delle loro controparti maschili. La parte più interessante di Virgin Suicides non è quindi la vicenda in sé quanto il fatto che le protagoniste non siano mai libere di raccontarla in prima persona. Così come a raccontarle come bambine che hanno bisogno di stretta sorveglianza sono i genitori, in particolare la madre, a renderle speciali agli occhi dei vicini e dei ragazzi è l’idolatria con la quale le osservano questi ultimi, idolatria che li tiene necessariamente a distanza. L’impossibilità di conoscerle aumenta a sua volta a dismisura il senso di mistero, ingigantendo ogni dettaglio che si riesce a racimolare fino a creare di fatto degli esseri mitologici.

    Il tentativo dei ragazzi di decifrare i loro segnali è fallimentare perché si ostina a partire dal presupposto di dover capire qualcosa di alieno. Alla fine non ignorano quello che è accaduto, al contrario della comunità intorno a loro, ma rimangono comunque spettatori esterni.

    La vera tragedia, in questo coming of age troncato a metà nel quale le storie d’amore restano a malapena abbozzate e metà dei personaggi scompare nel nulla, è il fatto che le protagoniste non siano protagoniste. Le sorelle Lisbon sono vittime delle narrazioni altrui, cercano nei loro coetanei una via di fuga e non la trovano, nonostante la grande attenzione riservatagli dagli stessi, poiché questi sono accecati da un fascinazione che non permette di ascoltare realmente.

    “Obviously, Doctor, you’ve never been a 13-year-old girl.” -Cecilia.

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    Federica Rossi,
    Redattrice.

  • Recensione Priscilla – Una regina nel deserto

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    Piedi smaltati di rosso calpestano una moquette rosa e soffice, arrivano poi le ciglia finte, quella linea distintiva di eyeliner, il rossetto e i capelli cotonati sorretti da una generosa passata di lacca. Quasi non serve che appaia il titolo del film a ricordarci che si tratta di Priscilla perché la sua iconografia, in quel periodo della sua vita, è fissata in una memoria che trascende il trascorrere del tempo. Come accade per altre donne, protagoniste di recenti monografie sul grande schermo – penso a Jackie Kennedy in Jackie, Marilyn Monroe in Blonde, Lady Diana in Spencer – a precederle è la loro immagine, riconoscibile anche senza il loro volto esposto. É sufficiente un’inquadratura di spalle, un dettaglio a sé. Si sa poi che Sofia Coppola, fine ed empatica osservatrice dell’animo umano, nei dettagli è in grado di trovare una verità, rendendola eloquente senza il bisogno di ricorrere a troppe parole.

    Chi fosse realmente la persona dietro quell’immagine, a volte ammirata, altre volte criticata, è la domanda comune posta da questi film. Con Priscilla, Sofia Coppola, basandosi sul memoir del 1985 “Elvis e io” e sui ricordi della stessa Beaulieu – qui anche produttrice esecutiva – non pretende di dare allo spettatore una risposta esaustiva, ma cattura un momento molto preciso e al tempo stesso cruciale della sua vita. Sono memorie personali le lenti attraverso cui abbiamo accesso alla storia. A raccontare quegli anni, la relazione con “Il Re del Rock’n’roll” è una prospettiva soggettiva che non parla di sé ma attraverso la sua protagonista principale.

    Assistiamo quindi a un coming-of-age in cui il passaggio dall’innocenza alla consapevolezza avviene sotto il tetto, tanto alto quanto oppressivo, della residenza di Memphis. La sua adolescenza e la sua crescita coincidono con un’illusione romantica destinata a piegarsi sotto il peso della realtà, perché l’Elvis che abbiamo conosciuto con Baz Luhrmann – vessato dall’ingombrante figura del Colonnello e insoddisfatto dalla sua carriera come attore – soffocava a sua volta ogni istinto di crescita di Priscilla, finendo per imprigionarla in una gabbia dorata nella quale lei esisteva e si muoveva solo in ragione della sua volontà.

    In questa storia convergono così molti degli elementi che hanno caratterizzato il cinema della regista, da sempre interessata alla ricerca sull’identità – Priscilla si è trovata ad avere una relazione con qualcuno che aveva già una fortissima identità quando lei doveva ancora trovare la sua – e a come questa debba essere scoperta dalle giovani donne, nella maggior parte dei casi, da sole. I pomeriggi infiniti scanditi dall’attesa delle telefonate, dalla noia, dalle tante persone intorno e le poche realmente accanto, tutti elementi che compongono un quadro di solitudine e indifferenza ingiustamente scambiate per lentezza e mancanza di ispirazione. La meditazione sulla solitudine nei film di Sofia Coppola non è sterile ma generosa nei confronti dei suoi personaggi perché non li lascia mai dove li ha trovati. Nello stallo e nel dolore c’è spazio per una crescita personale che non sempre può assumere toni squillanti e canonicamente ingaggianti. Il cambiamento è silenzioso ma il grido di liberazione finale no, per quello c’è Dolly Parton.

    La natura della relazione che legava la coppia non era certamente materiale facile da sottoporre al pubblico, ma come non c’è recalcitranza nel ritrarre le storture di un rapporto morboso, oggi ingiustificabile, non manca l’invito a credere nella sincerità con cui è stato vissuto e mai rinnegato. Accantonata la spinta verso il concetto binario di colpa e innocenza, rimane così spazio per le sfumature di una storia avvolta nelle strette morse delle idee di famiglia e femminilità anni ‘50.

    Anni in cui siamo catapultati – mantenendo sempre vivo un aggancio alla contemporaneità grazie alle scelte musicali anacronistiche che sono stilema della Coppola – attraverso il production design che si conferma elemento fondamentale, questa volta con una carica pop più misurata rispetto al precedente Marie Antoinette.

    Ogni elemento diventa corrispettivo per enfatizzare la soggettività di Priscilla e di come questa si relazioni alla situazione che sta vivendo. I colori cambiano dai toni più scuri della Germania e a quelli più vividi di Graceland, il suono si fa più forte e pieno quando Elvis le è accanto, le inquadrature si allargano per ospitare spazi ad oggi inediti – come il famosissimo ritratto di famiglia dove si enfatizza la posizione predominante, su un neanche troppo metaforico trono, mentre lei le rimane accanto ma seduta per terra. La stessa differenza fisica tra i due attori ne è un perfetto esempio.

    Priscilla è un film sussurrato e raffinato, magari non scintillante come i teaser potevano far presagire ma non per questo privo di valore. Suggerito a chi in sala vuole vivere un’esperienza contemplativa.

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    Silvia Alberti,
    Redattrice.

  • Film al cinema Marzo 2024 – 11 consigli

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    Lupin III – Il castello di Cagliostro

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

    Drive-Away Dolls

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

    Memory

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

    Totem – Il mio sole

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

    DogMan

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

    Un altro Ferragosto

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

    Inshallah a Boy

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

    La Terra Promessa

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

    Kung Fu Panda 4

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

    May December

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

    Quarto Potere

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

    Priscilla

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

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    Rosario Azzaro,
    Caporedattore.

  • Recensione Priscilla – Un desiderio inesploso #Venezia80

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    Sofia Coppola approda alla 80. Mostra Internazionale d’Arte Cinematografica di Venezia presentando in Concorso Priscilla, film in cui racconta la relazione fra Priscilla Beaulie (Cailee Spaeny) ed Elvis Presley (Jacob Elordi, il Nate Jacobs di Euphoria) basandosi sul romanzo Elvis and Me scritto dalla stessa Beaulie che per l’occasione figura anche come produttrice esecutiva.

    Nella Germania Ovest del 1959 vive Priscilla, figlia adottiva di un ufficiale della U.S. Air Force superiore di Elvis Presley durante il periodo del suo servizio militare presso le truppe d’occupazione locali. La ragazza appena diciassettenne è attratta dall’aura divistica di The Pelvis e trova un modo per conoscerlo: il film seguirà la loro relazione dopo il trasferimento a Graceland, la storica dimora di Elvis, fino alla rottura definitiva nel 1972.

    Stringere i denti

    Appena un anno da Elvis di Baz Luhrmann e dall’esplosione della carica erotica e del fascino magnetico del king del rock come icona immortale, Sofia Coppola per contrappasso non fa un film su Elvis ma sceglie di sfruttare la travagliata relazione tra l’uomo comune dietro ai grandi palchi e la compagna Priscilla, per ricordarci che anche le donne hanno desideri e che questi non possono essere appagati dalla semplice vicinanza alle luci dei riflettori. Come Maria Antoinette che nell’omonimo film cresceva sola e incompresa nell’opulenta corte di Versailles, Priscilla si allontana dalla famiglia appena diciassettenne per andare a Graceland, dove crescerà sola e ignorata nel mondo sfarzoso ma farsesco del cantante, senza mai nemmeno un tentativo di comprensione da parte del compagno. Non è difficile per Priscilla avvicinarsi a Elvis, punto interessante che permette sin da subito di percepire il cantante come suo pari, privato dell’immortalità della sua icona o, per meglio dire, dell’icona stessa: ha paura di essere dimenticato, gli manca terribilmente l’America e deve ancora metabolizzare la morte della madre avvenuta l’anno precedente. Persona comune anche d’aspetto, che Coppola sceglie curiosamente – tuttavia sfidando anche la sospensione d’incredulità dello spettatore – di mantenere molto simile a quello del suo interprete Jacob Elordi durante tutta la prima parte del film, per renderlo pian piano sempre più simile al cantante con l’emergere del del suo lato sempre più narcisista e quindi del suo vero aspetto. La giovane ragazza però non sa che i due lati di Elvis saranno sempre in dura competizione e assisterà all’emersione di un bipolarismo tossico e preoccupante: Priscilla lo conosce spinta anche dal desiderio di allontanarsi dalla famiglia rigida e coercitiva. Di gabbia in gabbia: la ragazza scoprirà di essere passata da quella familiare a quella dell’oblio emotivo di Graceland, dove ricoperta di gioielli e notti brave a Las Vegas cercherà stoicamente di trovare qualcosa di buono nel narcisismo assoluto del compagno, fino a quando il filo non si spezzerà e deciderà di andarsene.

    Elvis proietta in Priscilla la vita che vorrebbe avere ma che è perfettamente cosciente di non essere in grado di reggere, subissato dalla sua egomania e dalla sete di fama. Lei vorrebbe anche fare l’amore con lui ma il cantante con la scusa dell’ampia differenza d’età rifiuta ogni volta, ovviamente solo per dissimulare l’appagamento già ricevuto dalle attrici con cui si frequenta. Priscilla stringe i denti e va avanti. Al sesso preferisce fingersi intellettuale leggendole un libro ad alta voce, salvo poi chiederle di sposarsi; è nella prima notte di nozze che capiamo come il fuoco di burning in love, semmai, brucia solo per i finti amori passeggeri con cui riempie le giornate: guardandola soddisfatto non è capace di dire “ti amo” ma solo un flebile “mia moglie“, come se avesse appena ottenuto un bottino, come se lei fosse un oggetto.  Priscilla stringe i denti e va avanti. Sognando il matrimonio perfetto le chiede anche un figlio. Lei non è d’accordo ma si lascia convincere iniziando una gravidanza durante la quale, improvvisamente, Elvis le chiede di prendersi una pausa.  Priscilla accetta a denti stretti, quasi cinica, e va avanti. Le è chiaro ormai che The Pelvis sta venendo pian piano divorato dalle anfetamine e vorrebbe aiutarlo, se non fosse che l’emotività non trova spazio nemmeno le poche volte che riescono ad andare a letto assieme (ora ti faccio vedere come un uomo scopa la sua donna, esclama l’uomo a letto), come nei discorsi che Elvis inizia sempre con vena autoreferenziale senza dare mai voce in capitolo alla moglie o chiederle un suo parere; ma forse meglio così, se ogni volta che viene interpellata deve essere privata anche del suo nome e venir chiamata “Satnin”, soprannome dall’origine ancora incerta, fra chi sostiene che Elvis lo usasse come pet name per tutte le sue donne e chi invece gli affibbia un’origine più  “nobile”, collegata a ricordi d’infanzia del cantante.  Priscilla stringe i denti e va avanti. Fino alla separazione.

    Il rischio dell’indifferenza

    Priscilla è mera figurazione mentale della vita che Elvis avrebbe voluto avere, di quei desideri che soddisfava in maniera dissoluta in ogni altro istante; gli stessi desideri che però ora è Priscilla a non sentire appagati, restando per anni nella condizione di entità fantasmatica di sé stessa, nonché di quella seconda vita bramata da Elvis. Al contempo quindi la regista ci sbatte in faccia la realtà di una ragazza qualunque che a metà ‘900, da un momento all’altro, si ritrova ad essere la compagna del king of rock indiscusso. Come reagire? Il canovaccio è classico, semplice, lineare, forse fin troppo. La sceneggiatura si ripete in maniera inesorabilmente lineare e prevedibile lungo tutti i 113 minuti, seppure all’interno di una confezione ottima: una bomboniera di colori pastello e flash di polaroid che talvolta sfiora il manierismo. Coppola usa Priscilla e il lato meno raccontato di Elvis per parlare di una condizione universale in cui si ritrovano molte donne e di certo ancora più frequente a metà del secolo scorso. Potremmo sarcasticamente accostare il film al genere survival per la forza d’animo e lo stoicismo messi in campo da Priscilla, ma forse a fine corsa c’è il serio rischio d’indifferenza: più che una corsa il film è una passeggiata rilassata nella vita della coppia, che pur presentando caratteristiche peculiari del cinema della regista non tralascia mai esplodere per davvero le bramosie e i desideri inappagati di Priscilla. Sebbene tratteggiata sicuramente come personaggio forte e capace di reggere psicologicamente la vicinanza a quello che per lei era un gigante della musica, non capiamo mai bene la motivazione del suo stringere i denti e andare avanti. Certo, si gioca tutto sul rapporto tra il fascino del king e l’attrazione che esercita su di una diciassettenne spaesata che si dimostrerà molto più leale e matura, però se non si mettono davvero in scena l’eros, i desideri e di conseguenza le emozioni, ci si espone a banalizzazioni del tema e al racconto di una storia già vista altrove tante volte. In mano resta un involucro estetico degno di nota e le recitazioni convincenti dei due protagonisti, ma la sceneggiatura pur trattando un tema interessante ed attuale tiene tutto fin troppo sottotraccia, rischiando di confondersi nel mare magnum dei racconti di rapporti coniugali problematici e lasciando il pubblico indifferente e disinteressato.

    Pur non essendoci ancora una data ufficiale, Priscilla sarà distribuito negli Stati Uniti da A24, in Italia da Vision Distribution mentre in altri Paesi arriverà grazie a Mubi.

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    Alberto Faggiotto,
    Caporedattore.

  • Priscilla di Sofia Coppola: teaser trailer della biopic sulla moglie di Elvis

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    A24 ha diffuso online il primo trailer di Priscilla, nuovo film di Sofia Coppola che racconta la vita della moglie di Elvis Presley. Cailee Spaeny interpreta Priscilla e la star di Euphoria Jacob Elordi diventa Elvis nel nuovo film sul Re del Rock, dopo il clamoroso successo di Elvis di Baz Luhrmann con Austin Butler. 

    Il soggetto per il grande schermo viene da Elvis & Me, il libro di memorie pubblicato nel 1985 dalla moglie del cantante Priscilla Presley insieme a Sandra Harmon. Le riprese di Priscilla si sono svolte alla fine del 2022 e l’uscita al cinema è prevista per l’autunno 2023, dopo una plausibile anteprima al Festival di Venezia.

    TRAILER ORIGINALE

    Il teaser trailer, che è uscito accompagnato dal primo poster della biopic, anticipa scene da tutta la vita di Priscilla, che ha conosciuto il più grande divo del mondo quando andava ancora a scuola: poi sarebbero venute Graceland, le nozze, la loro bambina Lisa Marie e il successo sempre più fuori controllo del marito.

    Tornano a collaborare con la regista di Marie Antoinette il direttore della fotografia Philippe Le Sourd, la costumista Stacey Battat, la montatrice Sarah Flack e la scenografa Tamara Deverell. Coppola è regista e sceneggiatrice ma anche produttrice insieme a Youree Henry, Lorenzo Mieli di The Apartment, Fremantle Company e American Zoetrope, col finanziamento di The Apartment e di Stage 6 Films di Sony. Si tratta della terza collaborazione di Sofia Coppola con A24 dopo The Bling Ring del 2013 e On the Rocks del 2020.

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transform_hover_element="self" transform_scale_x="1" transform_scale_y="1" transform_translate_x="0" transform_translate_y="0" transform_rotate="0" transform_skew_x="0" transform_skew_y="0" transform_origin="" transform_scale_x_hover="1" transform_scale_y_hover="1" transform_translate_x_hover="0" transform_translate_y_hover="0" transform_rotate_hover="0" transform_skew_x_hover="0" transform_skew_y_hover="0" transition_duration="300" transition_easing="ease" transition_custom_easing="" animation_type="" animation_direction="left" animation_color="" animation_speed="0.3" animation_delay="0" animation_offset="" last="true" border_position="all" first="false"][fusion_text columns="" column_min_width="" column_spacing="" rule_style="" rule_size="" rule_color="" hue="" saturation="" lightness="" alpha="" content_alignment_medium="" content_alignment_small="" content_alignment="" hide_on_mobile="small-visibility,medium-visibility,large-visibility" sticky_display="normal,sticky" class="" id="" 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=""]

    Edoardo Borghesio,
    Redattore news.