FRAMES CINEMA

Tag: torino film festival

  • Recensione: coexistence, my ass!-rinunciare all’utopia

    Recensione: coexistence, my ass!-rinunciare all’utopia

    Noam Shuster Eliassi ha origini rumene, ebree, e iraniane, ed è cresciuta a Neve Shalom/Wāħat as-Salām. Il nome significa “Oasi di pace”. Si tratta di un villaggio fondato nel 1972 a ovest di Gerusalemme, dove cittadini israeliani arabi ed ebrei hanno scelto di convivere e promuovere progetti di convivenza.  Lei stessa racconta di essere stata cresciuta come “il volto della coesistenza”, e di aver creduto fermamente nel progetto di pace che il suo villaggio rappresentava. A poco più di vent’anni è diventata co-direttrice di Interpeace, un’organizzazione locale delle Nazioni Unite che verrà poi chiusa nel 2017. Coexistence, my ass! inizia da questo momento: Noam decide di dare una possibilità alla carriera nella stand up e cerca, sempre più disperatamente, di tenere insieme tutti i pezzi della sua vita mentre il mondo va nella direzione opposta. 

    Il documentario, diretto da Amber Fares, è stato presentato al Sundance Festival e poi al Torino Film Festival 2025, ed era nella shortlist per questa edizione degli Oscar. 

    Fares segue Shuster nel suo percorso professionale e personale dal 2018 all’Ottobre del 2023. Alcuni pezzi del suo one woman show, che dà il titolo al documentario, fanno da cornice e filo rosso del racconto. Soprattutto della prima parte, non è sempre chiarissimo quale voglia essere il cuore del discorso; incertezza dovuta al fatto che quando Fares e Shuster hanno iniziato a lavorare insieme l’idea del documentario non era ancora ben definita. D’altra parte questo è un raro caso in cui la poca coesione non è un danno particolarmente grave, perché coerente con il senso di autenticità che viene trasmesso: il commento fatto “con il senno di poi” è solo nelle clip dello spettacolo, non sono state aggiunte delle interviste alle persone coinvolte né alla protagonista. La maggior parte del montaggio è una presentazione cronologica degli eventi così come sono capitati. 

    Di conseguenza, dato che focus e coesione finiscono per dipendere da quanto la scrittura di show e documentario fossero  realmente avanzate nel frattempo, la seconda metà è di gran lunga la meglio riuscita. Questasi concentra sul periodo in cui, dal 2021, alcuni video spopolano sui social del mondo arabo, facendola andare incontro anche ad accuse di tradimento e minacce da parte dei suoi stessi concittadini. Shuster prende la decisione di continuare a fare satira politica, rielaborando attraverso il processo creativo i valori con cui è cresciuta e la dissonanza che percepisce nel presente. 

    È particolarmente interessante poter vedere dal di dentro il clima politico nelle principali città israeliane, dove non tutte le persone che manifestano contro il governo di Tel Aviv lo fanno  per la Palestina. Il momento in cui l’approccio senza filtri della regista è maggiormente efficace è però sicuramente il racconto degli eventi relativi al 7 ottobre, per i quali qualunque tentativo di commento sarebbe probabilmente risultato superfluo. Nel 2023 infatti, Shuster è ormai un personaggio pubblico a tutti gli effetti e si ritrova travolta dalle aspettative dei follower che le chiedono commenti sui social quasi in diretta. 

    Noam Shuster sfida l’idea che la posizione di chi vive in contesti complessi debba essere per forza, a sua volta, ”complicata”: oggi per continuare ad abitare le zone di confine, metaforiche o meno, è necessario avere le idee molto chiare. Coexistence, my ass! é un lavoro originale, non magistrale a livello tecnico ma interessante e soprattutto necessario. 

    “Coexistence doesn’t happen between the oppressor and the oppressed. […] it is not complicated and it’s not complex. It is painfully simple.”  

    Federica Rossi

    Caporedattrice

  • Recensione Immémorial, Chants de la grande nuit – Torino Film Festival 2024

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    Béatrice Kordon aveva già trattato il tema della divinità e dell’origine del mondo in un lavoro precedente “Dithyrambe pour Dionysos” (2008), per poi dirigere Les insensés, fragments pour un passage (The Senseless) (2020). Immémorial, in concorso al Torino Film Festival nella sezione documentari, raccoglie anni di sperimentazione nel genere e nella creazione sonora. Si tratta di un documentario sulla morte, o meglio sull’esistenza stessa del fenomeno a cui abbiamo dato questo nome, e che qui è “la grande notte”. 

    La riflessione inizia proprio dalle origini del fenomeno, con una versione della genesi che unisce al racconto biblico elementi comuni a molte mitologie: durante la grande notte gli dei decisero di rompere il silenzio creando la materia, con essa gli esseri umani, e dentro gli umani c’era la parola. È stato l’uomo poi, scoprendo la violenza attraverso l’omicidio di Abele, ad accorgersi che si può tornare indietro in qualunque momento. Il racconto religioso dell’esperienza umana finisce qui e lascerà il posto a una osservazione strettamente antropologica di tutti i modi in cui questo fenomeno esiste nel nostro presente, al pari del freddo o di altre caratteristiche del mondo. La morte non è trattata come un passaggio a qualcosa che esiste dopo, e nemmeno ci si pone la domanda se questo dopo esista, bensì come lo spunto per scoprire come in ogni cultura si sia tentato di entrarvi in contatto. 

    La voce narrante alla fine della parte introduttiva chiede, direttamente agli spettatori: sapete se siamo all’inizio o alla fine? Da qui in poi non ci saranno commenti né dialoghi, il documentario è una raccolta di immagini, organizzate in sequenze ordinate, a prima vista come fosse un archivio qualunque. Questo non significa che non sia evidente che si tratta di un lavoro d’autore, ma la costruzione è mantenuta il più essenziale possibile. Béatrice Kordon lavora quasi esclusivamente con il suono e l’immagine per comporre quello che è di fatto un quadro e non una narrazione che si sposta nel tempo: un unico documento che racchiude più informazioni possibili sul tema, coerentemente con l’esperienza personale che l’autrice racconta di averne avuto: 

    “La linearità del tempo e i contorni dello spazio gradualmente avevano perso le loro abituali caratteristiche, aprendomi a un mondo che sembrava essersi improvvisamente ampliato, allo stesso tempo sereno e caotico». 

    Le quattro “canzoni” nelle quali è diviso sono quattro capitoli indipendenti. A turno ogni capitolo propone visioni notturne, da cui traspira un profondo senso di immobilità e sconforto, oppure documentazioni di feste di paese e riti con i quali la vita prosegue alla luce del sole. Ogni azione quotidiana continua ad essere compiuta anche in prossimità della morte, per le strade e nei cimiteri ma anche dentro le case. La raccolta di materiali d’archivio è molto ampia: assistiamo a processioni e feste di ogni tipo in svariati paesi dell’Europa, tra cui anche l’Italia. Gli unici momenti in cui si sentono voci umane sono quelli in cui qualcuno canta. La visione della morte come semplice caratteristica e non come mistero da comprendere è ribadita dal ruolo che gli esseri umani ricoprono quando interagiscono con la natura che li circonda: sia che si tratti di animali o di alberi abbattuti, sia che si stia raccontando la distruzione portata dalla guerra tra uomini, non emerge mai un tono d’accusa. La scoperta che l’uomo ha fatto all’inizio della sua storia con la violenza tra Caino e Abele non viene trattata diversamente dalla valanga che soffoca il bosco, anzi, l’unica differenza che la nostra specie sembra poter vantare rispetto ad altre è questa capacità di raccontarsi a cui stiamo assistendo. 

    La coesione è sicuramente uno degli elementi di forza del documentario: la quantità di lingue diverse che si susseguono, senza che appaia mai un riferimento geografico o temporale sullo schermo, restituiscono paradossalmente una sensazione di grande unità, perché la differenza di suoni è perfettamente bilanciata dalle similitudini tra le immagini. L’altro elemento di coesione è dato dalle parti dedicate alla natura la quale, a differenza delle lingue umane, non cambia attraverso le epoche e i paesi. I rumori dell’acqua e degli animali accompagnano costantemente lo spettatore, a volte attraverso il buio, altre volte insieme a scene dal tono epico di disastri naturali. La scelta di non includere alcun tipo di dialogo, per quanto funzionale alle intenzioni dell’autrice, pesa sul ritmo, a causa anche del minutaggio un po’ troppo elevato per la quantità di contenuti. 

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    Federica Rossi,
    Redattrice.

  • Recensione Birth/Rebirth – Torino Film Festival 2023

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    Birth/Rebirth, opera prima della regista Laura Moss presentata nella sezione Crazies del Torino Film Festival 2023, è un mix moderno tra Frankenstein e Cronemberg, con protagoniste Marin Ireland e Judy Reyes, il volto di Carla in Scrubs, che qui torna nell’ambiente ospedaliero.

    Rose è una patologa forense che predilige il silenzio dei cadaveri ai tumulti delle interazioni sociali. Una sua ossessione segreta è la rianimazione dei morti. Celie è un’ostetrica la cui vita ruota attorno alla sua briosa e loquace figlia di sei anni, Lila. La tragica notte in cui Lila si ammala e muore improvvisamente, le vite di queste due donne s’intrecciano in modo irrevocabile. Si avventureranno lungo un buio sentiero da cui non c’è ritorno; e saranno costrette a confrontarsi con i limiti che sono disposte a superare per proteggere ciò che più amano.

    La soggettiva di un parto apre il film, a rimarcare l’importanza dell’atto della nascita all’interno della pellicola, interamente incentrata sul concetto di maternità e su cosa si è disposti a fare per tenere in vita i propri figli. Rose e Celie, due personaggi agli antipodi all’inizio del film, sociopatica, fredda e schiva la prima, materna e gentile la seconda, durante la loro evoluzione fanno proprie le caratteristiche della partner in crime, vivendo un ribaltamento di ruoli. Rose sviluppa un sentimento materno nei confronti di Lila, mentre Celie sprofonda progressivamente nell’abisso del male, diventando una persona prevaricatrice e capace di sacrificare tutto e tutti pur di tenere in vinta la propria figlia. E’ particolarmente interessante il percorso di Celie a livello concettuale: è proprio lei all’interno del film ad avere un’evoluzione in negativo, interpretata da Judy Reyes, l’iconica Carla di Scrubs, personaggio molto sensibile e dalla bontà innata,  con un ribaltamento di ruoli rispetto a Rose, e rispetto anche ai precedenti ruoli dell’attrice stessa.

    Tra budella umane realizzate con ottimi effetti pratici, pratiche illegali ed esperimenti scientifici in cui Rose gioca a fare dio e a riportare in vita una bambina nel Bronx, le due protagoniste “rinasceranno” in persone nuove, non  necessariamente con una connotazione positiva, costrette a portare con loro il fardello delle loro scelte.

    Se da un lato la regia della Moss è capace di trasmettere una sensazione di malessere perenne estremamente funzionale al racconto, dall’altro il rigore scientifico e la freddezza della messa in scena, della storia  e dei personaggi, soffocano la componente umana che avrebbe giovato alla caratterizzazione delle protagoniste e avrebbe facilitato l’empatia dello spettatore nei loro confronti, verso cui non si prova mai alcun tipo di sentimento. Inoltre qualsiasi tipo di ragionamento sull’etica delle azioni compiute viene lasciato in secondo piano se non totalmente azzerato, una mancanza non da poco visto il tema su cui viene costruita tutta la narrazione. Quello che resta è un film tutto sommato godibile, ma col freno a mano tirato, incapace di colpire davvero lo spettatore e di convincere fino in fondo.

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    Luca Orusa,
    Caporedattore.

  • Recensione Soleils Atikamekw – Torino Film Festival 2023

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    Chloé Leriche torna al Torino Film Festival dopo la partecipazione nel 2016, presentando il suo secondo lungometraggio nel concorso principale di questa edizione. A cavallo tra documentario e finzione, la storia narra della tragedia vissuta dalla comunità indigena  degli  Atikamekw nel 1977.

    Il 26 giugno di quell’anno, un veicolo precipita in un fiume poco fuori dalla comunità Atikamekw di Manawan, nel nord del Québec. Due persone di origine non indigena sopravvivono all’incidente, ma cinque membri della comunità Atikamekw perdono la vita. La polizia conclude le indagini dichiarando che si è trattato di un incidente, ma per le famiglie delle vittime molte domande rimangono ancora senza risposta (fonte Torino Film Festival).

    Se da un lato il tema del film non può che ricordare l’ultima opera di Martin Scorsese, e in questo senso Soleils Atikamekw è definibile come l’anti Killers of the Flower Moon. Non esiste epica all’interno del film della Leriche, costruito tutto sulla reazione come comunità degli Atikamekw alla tragedia avvenuta, elemento quasi completamente trascurato all’interno del film di Scorsese. Una comunità gioiosa che nel film dopo il lutto viene ritratta come composta da spettri che si aggirano nella notte, persone trasformate nei fantasmi di loro stesse dopo aver perso i propri cari. Questo elemento insieme ai segnali provenienti dall’al di là comunicati attraverso la luce del sole, aggiungono al mix tra documentario e finzione un’interessante componente di realismo magico. 

    Come nel film di Scorsese il bianco abbatte e uccide, sottolineato dalla scena più riuscita del film in cui i probabili assassini attraversano un corridoio di alberi abbattuti. Una foresta massacrata, come gli Atikamekw, che fanno del loro contatto con la natura una parte essenziale della loro vita. L’acqua del lago, dove sono stati ritrovati i cadaveri, possiede una memoria e per superare il lutto è necessario immergersi nel luogo dell’accaduto, cessando di avere paura di esso.  La polizia si disinteressa totalmente al caso, bollandolo come l’ennesimo evento problematico causato dagli indigeni. 

    La Leriche  è brava nel trasmettere una sensazione di inquietudine costante e di tragedia imminente nella prima parte della pellicola, messa in scena con un gusto visivo raffinato che può ricordare il cinema di Kelly Reichardt. Anche il disinteresse della polizia e la frustrazione della comunità per la mancata giustizia hanno un ruolo centrale nella narrazione. 

    Il problema principale che contribuisce alla non riuscita totale del film è la mancanza di quantità di materiale  sufficiente a reggere tutti i 100 minuti dell’opera. A metà della durata complessiva la pellicola va inesorabilmente ad arenarsi in una ripetizione continua di ciò che era stato mostrato precedentemente, perdendo mordente e depotenziando il messaggio che voleva trasmettere. Una grande occasione mancata visto il tema del film e il grande numero di intuizioni visive che la regista sfodera nella prima parte dell’opera.

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    Luca Orusa,
    Caporedattore.

  • Recensione Kubi di Takeshi Kitano – Torino Film Festival 2023

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    A sette anni di distanza dal suo ultimo film, torna al cinema Takeshi Kitano con la sua ventesima opera da regista, uno Jidaigeki presentato al Festival di Cannes, che coniuga perfettamente due elementi propri del regista giapponese: la violenza e la comicità dissacrante. Kitano mette le cose in chiaro riguardo le sue intenzioni sin dal titolo del film, il cui ideogramma viene mozzato, per poi essere seguito da una collezione di corpi martoriati in un fiume.

    Desiderando estendere il suo potere a tutto il Giappone, il signore della guerra Oda Nobunaga fu coinvolto in feroci battaglie con gli eserciti dei clan Mouri, Takeda e Uesugi, oltreché con le forze al servizio dei templi e dei santuari di Kyoto. Nel frattempo, il vassallo di Nobunaga, Murashige Araki, organizzò una ribellione e scomparve rapidamente. Nel frattempo il vassallo Hashiba, insieme a suo fratello Hidenaga e allo stratega militare Kuroda Kanbei, elaborò un piano per sottrarre il potere a Nobunaga e prendere lui stesso il controllo del Giappone (fonte Torino Film Festival).

    Con questa opera Kitano prosegue il percorso di decostruzione del genere iniziato con Zatōichi, facendo letteralmente a pezzi a colpi di katana il concetto di  Jidaigeki. In questo senso la violenza, di stampo assolutamente fumettoso e surreale e onnipresente all’interno del film, è assolutamente funzionale al concetto di distruzione e massacro dello regole del genere, regole rappresentate dai personaggi stessi, che devono essere uccisi nella maniera più violenta possibile. Kitano prende tutte gli stilemi quali l’onore, il coraggio e la lealtà tipiche dei samurai e li ridicolizza. 

    Due sono i principali schieramenti del film che si costituiscono tra gli innumerevoli personaggi. Da un lato il signore della guerra Nobunaga è un adolescente dai modi infantili capace di atti oltre il limite della crudeltà, che agisce per pura gelosia nei confronti dei propri amanti. In questo senso Kitano torna a mettere in scena dell’omosessualità tra i samurai come già aveva realizzato Oshima nel su Tabù – Gohatto.  Dall’altro  Hashiba, interpretato dal regista stesso, è un anziano impacciato che si diverte a mettere alla berlina tutte le persone che lo circondano. Non è un caso che Hashiba sia impersonato da Kitano stesso, che si trasforma metacinematograficamente in regista anche all’interno della narrazione, prendendosi gioco dei personaggi e demolendo il genere dal suo interno. 

    Il film, a trazione esclusivamente maschile, è una collezione di parassiti pronti ad abbandonare le proprie mogli in cerca di gloria, di codardi sempre favorevoli a farsi sostituire in battaglia da controfigure per evitare di andare incontro alla morte, di preti disposti a uccidere pur di ottenere la costruzione di una chiesa.

    Kitano costruisce la narrazione a partire da sequenze ironiche e mai epiche, neanche nelle grandi battaglie campali, massacrando ad uno a uno i vari personaggi e le tradizioni: neanche l’harakiri viene preso seriamente, con Hashiba che si lamenta delle lente tempistiche dell’esecuzione dell’atto.

    Con Kubi Kitano torna al cinema con una commedia irresistibile, costruita su una lenta ma inesorabile trasformazione dello Jidaigeki in film demenziale, che conferma come il grande regista abbia ancora alcune frecce al suo arco e sia capace di innovare non curandosi delle regole che il genere cinematografico impone. Certamente nel caso in cui queste frecce dovesse tirarle Hashiba, farebbe eseguire l’atto a uno dei suoi sottoposti per poi prendersi gioco di lui.

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    Luca Orusa,
    Caporedattore.

  • Recensione Cerrar los ojos – Torino Film Festival 2023

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    Dopo la polemica all’ultimo Festival di Cannes, causata dall’ambiguità sull’ammissione o meno al concorso principale, arriva anche al Torino Film Festival nella sezione Fuori Concorso la nuova opera del regista spagnolo Víctor Erice, suo primo lungometraggio dopo un’attesa di 30 anni dal suo precedente film.

    Il famoso attore spagnolo Julio Arenas scompare mentre sta girando un film. Anche se il suo corpo non viene mai ritrovato, la polizia conclude l’istruttoria sostenendo che è stato vittima di un incidente in mare. Molti anni dopo, il mistero che circonda la sua scomparsa torna alla ribalta grazie a un programma televisivo che ne racconta la vita e la morte, mostrando le immagini esclusive delle ultime scene in cui ha recitato, riprese da un suo caro amico, il regista Miguel Garay (fonte Torino Film Festival).

    Il film si apre con il girato in pellicola dell’ultima opera di Julio Arenas prima della scomparsa. Un uomo incarica il personaggio interpretato da Julio di cercare sua figlia per poterla incontrare  ancora  una volta prima della sua imminente dipartita, per poter essere osservato come solo la figlia era capace di fare, con un intenso sguardo di addio. Uno sguardo di addio che anche Julio in seguito volgerà al regista Miguel attraverso la telecamera. Uno dei due personaggi di tale preludio, nel descrivere le componenti della scacchiera, definisce il re degli scacchi come la pedina più triste: Miguel Garay, il regista nonché protagonista del film, è a suo modo un re, un direttore, affetto da una profonda malinconia dopo una vita costellata di lutti e ambizioni non rispettate. Inizialmente disilluso sul ruolo contemporaneo del cinema, in cui si sente un dinosauro, una persona cresciuta nell’analogico e costretto a vivere in un mondo dominato dal digitale, si interroga su quanto la bellezza dell’arte possa diventare una routine se vissuta ogni giorno, come le esperienze vissute da una guida del museo del Prado chiamata a ripetere le stesse cose tutti i giorni ai turisti. 

    Miguel e Julio sono collegati da un rapporto di amicizia e sono due facce della stessa medaglia, tra fidanzate condivise e vestiti indossati da entrambi. Sono collegati persino dagli elementi naturali, con epifanie che sopraggiungono in momenti di pioggia. Lo speciale del programma televisivo è l’occasione per Miguel di ritornare a riflettere sul rapporto che aveva con l’amico prima della sua scomparsa. La prima metà del film rimanda in qualche modo a Quarto Potere, alla difficoltà nel tratteggiare, definire e comprendere una persona. Come in uno specchio metacinematografico, Julio passa dall’interpretare un personaggio incaricato di trovare una bambina nella finzione, all’essere cercato dai propri amici e dalla propria famiglia nella realtà. Tutte persone che non lo han dimenticato e che ancora si interrogano sulla sua scomparsa.

    Víctor Erice costruisce tutta il film attraverso primi piani insisti sui volti e sugli occhi, sugli intensi sguardi degli iconici personaggi che costellano tutta la pellicola, delineati attraverso raffinati dialoghi di grande genuinità, con il susseguirsi di scene apparentemente fini a sé stesse che sono tuttavia funzionali alla costruzione delle loro psicologie. Il titolo stesso della pellicola significa “chiudi gli occhi” a confermare l’importanza data allo sguardo e all’immagine. 

    Il percorso di Miguel, da regista disilluso ad artista che utilizza il cinema per cercare di salvare e ricostruire una persona, risulta dunque coerente e quasi autobiografico di Víctor Erice, tornato dopo più di 30 anni a dirigere un film, come se si fosse reso conto di avere ancora qualcosa da raccontare. Perché l’arte, il cinema e la potenza delle sue immagini possiedono ancora un ruolo salvifico. La nostra vita è rappresentata da una collezione di immagini, foto, riprese e ognuna di esse può essere fondamentale nella definizione di noi stessi. Almeno finché ci sarà il rumore di un proiettore, è lecito credere nei miracoli che solo il cinema è capace di produrre.

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    Luca Orusa,
    Caporedattore.

  • Recensione Los Delincuentes – Torino Film Festival 2023

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    Presentato nella Sezione Un certain regard dell’ultimo Festival di Cannes e candidato per l’Argentina agli Oscar 2024, arriva anche al Torino Film Festival 2023 la nuova opera di Rodrigo Moreno nella sezione Fuori Concorso. Il film del regista argentino consiste in un fluviale heist-movie di 3 ore, condito con elementi da commedia surreale. 

    L’impiegato di banca Morán escogita un piano per liberarsi della monotona routine lavorativa: rubare abbastanza soldi per garantirsi un modesto pensionamento, confessare tutto alle autorità e trascorrere un po’ di tempo in prigione intanto che un suo collega custodisce i soldi. Il suo complice è Román che, immediatamente messo sotto pressione da un investigatore della compagnia, decide di recarsi verso un’idilliaca e remota zona rurale per nascondervi la refurtiva (fonte Torino Film Festival).

    Il film si apre con l’inquadratura di un completo da impiegato poggiato su una sedia, a rimarcare immediatamente l’importanza del lavoro all’interno del film. Lavoro inteso tuttavia come prigionia, come un aguzzino che ritma le nostre vite e annulla la nostra libertà. Il regista segue Morán nel suo lento percorso mattutino, sottolineando come il protagonista faccia di tutto pur di non recarsi presso il suo ufficio, pur di ritardare l’agonia quotidiana. E’ meglio stare 3 anni e mezzo in carcere o 25 in una banca? L’interrogativo alla base del film è solo un esempio dei molteplici parallelismi tra vita lavorativa e prigionia, dalle grate presenti sia nelle carceri fatiscenti che nella banca, al direttore della filiale dove lavorano  Morán e Román che è interpretato dallo stesso attore che impersona uno dei detenuti più importanti della prigione. Il lavoro è prigionia e ci controlla anche nelle nostre conversazioni, come afferma Morán ricordando che quando si incontra qualcuno per la prima volta, una delle prime domande che si rivolge è “che lavoro fai?”.

    Il piano di Morán di ottenere la libertà e fuggire verso un luogo non contaminato dall’uomo, la regione dell’Alpa Corral, conquista anche  Román, l’impiegato perfetto amante della vita da città,  che tuttavia viene ammaliato dalle bellezze della regione. Luogo impersonato da Norma, ragazza che sconvolgerà le vite dei due protagonisti, vera trasposizione in forma umana della natura e di conseguenza non reale. Natura che inevitabilmente non verrà immediatamente compresa dagli abitanti della città, ma che nel finale sospeso confermerà l’impatto avuto sulle vite dei due protagonisti. Una fuga nella natura definitiva o temporanea di cui  Morán e  Román, due facce della stessa medaglia, necessitano per sopravvivere all’iperproduttività della società contemporanea. La società capitalista viene raffigurata dal personaggio della Ortega, teatrale e malefica, che distrugge le carriere dei colleghi di  Morán, a causa della rapina di quest’ultimo. Ogni persona della pellicola rappresenta il simbolo di uno degli aspetti della vita contemporanea.

    Il contrasto tra la natura che rimanda al western e la città è sottolineato dal grande lavoro realizzato sul sonoro, che risalta la differenza tra la cacofonia di Buenos Aires rispetto alla pace dell’Alpa Corral, tramutando in film in un vero e proprio atto d’amore verso questa regione.

    Questo inno alla libertà travestito da heist movie atipico, condito di scene comiche surreali, tra siparietti con protagonisti bicchieri d’acqua  e sedie scricchiolanti, risulta essere un instant cult da recuperare.

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    Luca Orusa,
    Caporedattore.