FRAMES CINEMA

Tag: venezia 80

Recensione Melk – Una silenziosa inquietudine #Venezia80

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Con Melk assistiamo all’esordio della regista olandese Stefanie Kolk, che ha presentato il film all’interno della rassegna autonoma “giornate degli autori” nell’80esima edizione della mostra cinematografica di Venezia. Il suo primo lungometraggio racconta la drammatica storia di una madre che affronta il lutto di un aborto spontaneo subito in gravidanza. La tragicità dell’evento però è accompagnata da una particolare risposta da parte del suo corpo: un’ininterrotta e sempre crescente produzione di latte materno.

Questo elemento diviene centrale nella narrazione e nella vita della protagonista, per la quale è impensabile sprecare quel latte che il suo bambino avrebbe potuto bere. Di conseguenza il più importante aspetto della sua vita diviene trovare un ente che le permetta di donare il suo latte materno ai neonati prematuri. Forse un modo per mantenere una connessione con suo figlio, per elaborare il triste avvenimento, per dare un fine alla sua gravidanza. Ciò che suscita maggior impressione è la calma quasi inquietante con cui i fatti si svolgono, scelta consapevole della regista. La Kolk ha infatti spiegato come l’ispirazione per l’opera fosse giunta in seguito a sensazioni provate da lei stessa durante il periodo della maternità. Era stata portata a ragionare su come funzionasse il corpo femminile dopo la gravidanza, da quali meccanismi esso fosse regolato, e da quanto imprevedibile potesse essere.

La regista aveva parlato con donne che avevano vissuti aborti spontanei, e si era resa conto di come in occasioni simili le parole fossero superflue, e un silenzio carico di emozioni fosse molto più eloquente. Da qui la scelta di eliminare il caos dal racconto, o meglio, di esplicitarlo tramite un espressivo ossimoro. La lentezza del film può talvolta snervare e portare lo spettatore a chiedersi quale sia il punto a cui il racconto vuole giungere, ma il fulcro, il messaggio principale, è proprio la silenziosa inquietudine carica di dolore che porta a provare insieme ai protagonisti. In questo modo la connessione che si crea è molto più profonda e l’empatia molto più vera.

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Gaia Fanelli,
Redattrice.

September 2, 2023
Recensione La Terra Promessa – Il nuovo film di Nikolaj Arcel con Mads Mikkelsen #Venezia80

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Bastarden – La terra promessa è l’ultimo film del regista danese Nikolaj Arcel, presentato all’80esima mostra internazionale dell’arte cinematografica di Venezia. L’opera si presenta diversa dal resto della sua produzione, come il regista stesso dichiara: costituisce infatti un bilancio della propria vita e carriera, posto sul piano esistenziale. Dopo essere diventato padre Arcel aveva avuto modo di ragionare sul suo atteggiamento nei confronti del lavoro, atto sempre a realizzare una narrazione artistica ma senza mai scendere più in profondità. Bastarden ha come fulcro quindi il concetto dell’ambizione, nella sua grandezza come nei suoi lati negatitivi.

Nel 1755 il capitano Ludwig Kahlen si prefissa l’obiettivo di bonificare delle aride terre danesi, per potervi costruire una colonia delle terre del re. L’impresa, purtroppo, si rivela ardua già in partenza. I funzionari del sovrano infatti concedono l’autorizzazione a Kahlen convinti del suo imminente fallimento.
Il capitano non si trova a sfidare solo un ambiente ostile all’agricoltura, ma dovrà far fronte anche a dispetti di svariato tipo da parte dei latifondisti della zona, infastiditi da una presenza estranea in quelle che reputano le loro terre. In particolare il ricco Frederik de Schinkel userà qualsiasi mezzo a sua disposizione per ostacolare la missione del protagonista, compresi atti spietati su civili innocenti.

Lo stoicismo con cui Kahlen affronta le sfide che gli si propongono è esemplare, ma pur portandolo a realizzare il suo desiderio lo pone davanti a perdite molto gravi. Dietro il suo comportamento quasi ossessivo c’è però una ragione: egli infatti è di estrazione bassa, con una madre domestica e un padre che non lo aveva riconosciuto. Dopo 25 lunghi anni era riuscito ad ottenere una carica, bramando la frequentazione di ambienti nobiliari. Il mezzo per far parte del rango desiderato sarebbe stato la nomina a nobile, capo della colonia da lui fondata.

Lo sguardo intenso e carico di emozioni di Mikkelsen, in una delle ultime scene del film, esprime il conflitto interiore di un uomo che dopo aver sacrificato la propria vita per realizzare un obiettivo, si chiede se il prezzo pagato ne valesse davvero la pena. In questa performance di Mikkelsen, come in quasi tutte le sue altre, il silenzio è veicolo di significati molto più di quanto le parole potrebbero esprimere. La maggior parte delle volte in cui si trova a dover ricostruire da capo qualcosa che gli è stato tolto, o viene posto dinanzi a un ricatto, il capitano Kahlen non parla quasi mai. È il suo viso a parlare per lui, a raccontare i pensieri che si stanno articolando nella sua mente e le sue valutazioni sulla situazione.

Ma queste microespressioni sono quasi impercettibili, nascoste dietro una maschera immobile e ieratica, conscia che retrocedere di un passo, davanti ai potenti, significhi perdere tutto. Bastarden racchiude lo spirito scandinavo e abbraccia una narrazione sugli uomini del nord che li dipinge freddi, riservati e votati al sacrificio; capaci di accettare la sofferenza e rispondervi con la quiete.

Una bellissima canzone di un artista norvegese recita:

People in Northern Europe since medieval times
We find it hard to deal with when our dreams come true
As if happiness exists in the world at a fixed amount
And if you feel up, somebody somewhere else feels down

(1517 -The whitest boy alive)

Questo sentimento è ben presente nei film di Joachim Trier, o nelle opere del suo più famoso parente Lars Von; in capolavori come Il sospetto di Thomas Vinterberg, in cui possiamo tra l’altro vedere sempre Mads come protagonista. E lo vediamo anche in Bastarden, accompagnato però da un’intensa quanto nascosta volontà di stare bene.

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Gaia Fanelli,
Redattrice.

September 1, 2023
Venezia 80 – Annunciato il programma di Venezia Classici

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Venezia Classici è una sezione che dal 2012 si propone, durante la Mostra del Cinema di Venezia, di presentare in anteprima mondiale i migliori restauri di film iconici realizzati in tempi recenti. Quest’anno sarà il regista e sceneggiatore Andrea Pallaoro (noto per aver diretto i lungometraggi Medeas, Hannah e Monica) a presiedere la giuria di studenti dedicata ai classici del cinema. Saranno 24 allievi del DAMS e della Ca’ Foscari, ad assegnare il Premio Venezia Classici per il miglior film restaurato. La sezione, curata da Alberto Barbera con la collaborazione di Federico Gironi, presenta inoltre una selezione di documentari sul cinema con un ulteriore premio di riferimento.

Nella serata di preapertura ci sarà un tributo a Gina Lollobrigida e il pubblico potrà rivedere La Provinciale di Mario Soldati e il documentario Portrait of Gina, realizzato da Orson Welles nel 1958.

“Anche quest’anno il programma di Venezia Classici si propone di offrire al pubblico uno spaccato ampio e trasversale della storia del cinema, attraversando generi e correnti, esplorando cinematografie e celebrando grandi autori e anniversari.” – dichiarano Alberto Barbera e Federico Gironi – “Un altro omaggio si propone di ricordare uno dei maestri del cinema italiano di genere, Ruggero Deodato, scomparso nel dicembre dell’anno scorso, con il restauro di uno dei suoi film più estremi e invisibili: Ultimo mondo cannibale.

Nel febbraio scorso, se n’è andato anche uno dei più grandi registi spagnoli, Carlos Saura, del quale rivedremo in versione restaurata uno dei primi e migliori film, che segnò la rinascita del cinema spagnolo: La caccia, premiato al Festival di Berlino del 1965.

Tra gli anniversari che celebriamo quest’anno, anche quello di Anna Magnani che ci ha lasciati cinquant’anni fa. Per l’occasione, potremo assistere alla proiezione del nuovissimo restauro in 4K di Bellissima, straordinario film di uno dei più grandi registi della storia del cinema italiano, Luchino Visconti.

È il 120° anniversario anche della nascita di Yasujiro Ozu, di cui si vedrà un film raro e mutilato dalla censura dell’epoca, in pieno secondo conflitto mondiale: il recente ritrovamento di una parte delle sequenze tagliate consentirà di riscoprire C’era un padre in una versione non completa ma sicuramente più prossima all’edizione originale di quella conosciuta sinora.

E poi una serie di grandi film che appartengono di diritto alla storia del cinema e del suo pantheon” – continuano i responsabili della sezione – “Les Créatures di Agnès Varda (in concorso alla Mostra del Cinema di Venezia del 1966); I giorni del cielo, secondo, straordinario film di Terrence Malick; Per il re e per la patria di Joseph Losey e Le ombre degli avi dimenticati di Sergej Parajanov, che rivelò al mondo intero le straordinarie qualità del grande regista armeno-ucraino inviso alle autorità sovietiche per la sua opera, che rielabora in chiave surrealista e visionaria le tradizioni popolari delle popolazioni caucasiche.

Non solo restaurati, ma anche rivisti dagli stessi autori in veri e propri Director’s Cut, sono Un sogno lungo un giorno di Francis Ford Coppola e Profundo Carmesí di Arturo Ripstein, mentre il capolavoro Andrej Rublëv di Andrej Tarkovskij verrà presentato in quella che è la ricostruzione della versione integrale, censurata prima della sua uscita e mai vista prima d’ora.

Il 2023 è l’anno del centenario di Warner Bros. e Disney. Per celebrarli entrambi, a 50 anni dalla sua realizzazione, ritorna in versione restaurata un capolavoro del cinema non solo horror come L’esorcista di William Friedkin, mentre per chi cerca qualcosa di più dolce e rassicurante ecco Rondine senza nido, film con la leggendaria Shirley Temple diretto dal prolifico e a tratti geniale Allan Dwan.

Dalla scena indipendente americana arriva invece l’allieva di Roger Corman, Stephanie Rothman che diede alla sexploitation anni ‘70 un impulso femminista. La Mostra presenterà The Working Girls, uno dei recenti restauri dalla sua filmografia entrata a far parte della collezione del MoMA di New York. Sempre in tema di trasgressioni, il regista Yonfan ci porta nei quartieri a luci rosse di Singapore a simpatizzare con un gruppo di irresistibili travestiti, con il coloratissimo Bugis Street. I bambini sono invece protagonisti anche di uno dei primi film di Amir Naderi, Harmonica (Saaz Dahani, rimasto invisibile per anni), ambientato in un Iran costiero e soleggiato che non ti aspetti. Da scoprire, o riscoprire, anche due film da noi davvero poco noti: Life of a Shock Force Worker del regista bosniaco Bahrudin Čengić, film considerato da molti critici come uno dei capolavori dell’ex cinema jugoslavo, e Ohikkoshi del giapponese Shinji Sōmai, autore ingiustamente sottovalutato di soli 13 bellissimi film realizzati fra il 1980 e il 2000.”

Ecco il programma dei film che si potranno guardare sullo schermo in versione restaurata:

SLIKE IZ ŽIVOTA UDARNIKA (LIFE OF A SHOCK FORCE WORKER)
di BAHRUDIN BATO ČENGIĆ (Jugoslavia, 1972, 78’, colore / B/N)
restauro: Slovenska kinoteka / Filmski centar Sarajevo / Hrvatski državi arhiv – Hrvatska kinoteka / Ōsterreichisches Filmmuseum col supporto di EU Creative Europe Medie Programme / ACE – Association des Cinémathèques Européennes / Ministrstvo za kulturo Republike Slovenije

ULTIMO MONDO CANNIBALE – Proiezione di mezzanotte
di RUGGERO DEODATO (Italia, 1977, 90’, colore)
restauro: Minerva Pictures

REBECCA OF SUNNYBROOK FARM (RONDINE SENZA NIDO)
di ALLAN DWAN (USA, 1938, 81’, B/N)
restauro: Walt Disney Studios / The Film Foundation

ONE FROM THE HEART: REPRISE (UN SOGNO LUNGO UN GIORNO)
di FRANCIS FORD COPPOLA (USA, 1982, 95’, colore)
restauro: American Zoetrope

THE EXORCIST (L’ESORCISTA)
di WILLIAM FRIEDKIN (USA, 1973, 132’, colore)
restauro: Warner Bros.

KING & COUNTRY (PER IL RE E PER LA PATRIA)
di JOSEPH LOSEY (UK, 1964, 88’, B/N)
restauro: StudioCanal

DAYS OF HEAVEN
di TERRENCE MALICK (USA, 1978, 94’, colore)
restauro: Criterion / Paramount

SAAZ DAHANI (HARMONICA)
di AMIR NADERI (Iran, 1973, 76’, colore)
restauro: Institute for the Intellectual Development of Children and Young adults – KANOON / Roashana Laboratory

CHICHI ARIKI (C’ERA UN PADRE)
di YASUJIRO OZU (Giappone, 1942, 92’, B/N)
restauro: Shochiku / National Film Archive of Japan

TINI ZABUTYKH PREDKIV (LE OMBRE DEGLI AVI DIMENTICATI)
di SERGEI PARAJANOV (Ucraina, 1965, 99’, colore / B/N)
restauro: Oleksandr Dovzhenko National Film Studio

PROFUNDO CARMESÍ – DIRECTOR’S CUT
di ARTURO RIPSTEIN (Messico, Spagna, Francia, 2023, 136’, colore)
restauro: Alebrije Producciones / Wanda Films

THE WORKING GIRLS
di STEPHANIE ROTHMAN (USA, 1974, 80’, colore)
restauro: The Museum of Modern Art, New York

LA CAZA (LA CACCIA)
di CARLOS SAURA (Spagna, 1966, 87’, B/N)
restauro: Video Mercury Films

LA PROVINCIALE
di MARIO SOLDATI (Italia, 1953, 113’, B/N)
restauro: CSC – Cineteca Nazionale, in collaborazione con Compass Film

OHIKKOSHI (MOVING)
di SHINJI SÔMAI (Giappone, 1993, 124’, colore)
restauro: Yomiuri Telecasting Corporation

ANDREJ RUBLEV – DIRECTOR’S CUT
di ANDREJ TARKOVSKIJ (URSS, 1966, 191’, colore / B/N)
restauro: Istituto Internazionale Andrej Tarkovskij in collaborazione con Coevolutions e Cloudpost

LES CRÉATURES (LE CREATURE)
di AGNÈS VARDA (Francia, 1965, 94’, colore / B/N)
restauro: Ciné Tamaris / CNC con il supporto di SHE ECHOES e Chanel

BELLISSIMA
di LUCHINO VISCONTI (Italia, 1951, 114’, B/N)
restauro: CSC – Cineteca Nazionale, in collaborazione con Compass Film

BUGIS STREET
di YONFAN (Hong Kong, 1995, 98’, colore)
restauro: L’immagine ritrovata / Far Sun Film

FUORI CONCORSO

PORTRAIT OF GINA
di ORSON WELLES (USA, 1958, 27’, B/N)
restauro: Filmmuseum di Monaco di Baviera, in collaborazione con Cinecittà

Gli spettatori della Mostra avranno a disposizione un’ampia scelta di generi e autori diversi.

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Maria Cagnazzo,
Redattrice news.

July 22, 2023