La profondità nell’essenzialità
Vedere in una stessa sede Bruno Bozzetto e Piero Angela è un’emozione riservata a pochi. La sera del 27 novembre questo privilegio è stato concesso solo ai fortunati che sono riusciti a mettersi in coda in tempo, data la moltitudine di persone accorse in occasione dell’evento e la ristrettezza della sala Massimo 2.
Continua la lettura di PREMIO MARIA ADRIANA PROLO 2014 A BRUNO BOZZETTO
Article by: Alessandro Arpa
Translation by: Ilaria Rana
Can you imagine a Manet painted by prisoners? This is “Anuncian Sismos”, the first film by Rocio Caliri and Melina Marcow, two young Argentinean directors. This film, produced by Hulot Cine, draws inspiration from a real story. A small town located in the north of Argentina has been affected by several juvenile suicides, and the town decides to adopt a solution to solve this problem.
The film doesn’t explain why these suicides happen, but it stresses the consequences of these events on a group of youngsters. The final result is a 68-minute film without a specific aim. Its fragmentary narration is interrupted by inserts of petty philosophy. Although interesting, the film seems to be unclear and full of random elements. Furthermore, this situation doesn’t disconcert the main character, Mariano, who has a girlfriend with whom he spends some romantic and pathetic moments and he also has fun with his school friends.
It reminds us of Apichatpong Weerasethakul’s cinema, but it hasn’t its same poetic charge. This time the Turin Film Festival has chosen a nerve-racking film. “Anuncian Sismos” is not a film for an old people’s home, as someone would risk to drop dead.
Breve invito al suicidio
Avete presente un Manet dipinto dai carcerati? Ecco questo è Anuncian Sismos, opera prima di Rocio Caliri e Melina Marcow, giovanissime registe argentine. Il film, prodotto dalla Hulot Cine, è ispirato ad una storia vera. Una città del Nord dell’Argentina è colpita da numerosi suicidi giovanili; decide quindi di prendere precauzioni e studiare una strategia per risolvere il problema. Continua la lettura di “Anuncian sismos” (“Announce Erathquakes”) di Rocio Caliri e Melina Marcow
Article by: Ilaria Frare
Translation by: Paola Pupella
After playing for years the role of Theresa D’Agostino in the HBO series The Wire, the actress Brandy Burre decides to abandon her acting career, in order to devote herself to her two children and her partner Tim Reinke. She moves to Bancon, in the suburbs of New York, and she ends up in a world that catches her totally unprepared; nappies, bills and meals to be cooked do not seem being made for her.
Over the years, the woman starts feeling the pressing need to come back in the limelight; and the director Robert Green decides to go along with her, with his camera, through the re-integration in the frivolous world of show business. Without interfering with or criticizing, Robert Green glances carefully at the protagonist’s clear frustrations arising from the restrictions of a home-centered life, which Brandy can forget just when she meets her fellow actors for a cocktail in a pub in Manhattan.
Actress is a documentary without any interviews or any cumbersome statements, where the tones of fiction and the features typical of melodrama alternate, by creating a HBO-style hybrid. Everything is harmonized by a continuous and spontaneous stream of consciousness, that sounds a lot like an admission of guilt: “I know what I did, because I’m clumsy. Perhaps not very graceful. “, states Brandy herself.
In little more than a half-hour documentary, the public participate in the parable of Brandy’s life, a woman apparently changeable and ungrateful, but who, finally, reveals herself as a person fragile and overcome by the inability to deal with the consequences of her choices, with the missed relationship with her partner and with a continuous sense of frustration, as she never feels up to her own duties as a mother, as a partner and as a professional.
Brandy’s choice was not easy; it was probably the hardest one in her life, but, to some extent, we can understand how her decision has led to the greatest happiness as well as the main pains, by leaving us the sensation of a dazed woman, who does all out to keep her life going, though clumsily.
Dopo aver interpretato per anni il ruolo di Theresa D’Agostino nella serie targata HBO The Wire , l’attrice Brandy Burre decide di abbandonare la carriera di attrice per dedicarsi a suoi due figli e al compagno Tim Reinke. Trasferitasi a Bancon, periferia di New York, Brandy si trova immersa in un mondo che la coglie del tutto impreparata; pannolini, bollette e pasti da cucinare sembrano non far per lei. Continua la lettura di “Actress: Diary of a Mad Housewife” di Robert Green
C’era una volta a Zombieland…
Rampollo della middle class residente nel facoltoso quartiere di Brian Grove, Zachary Orfman (Dane DeeHan) perde l’amata fidanzatina Bethany (Aubrey Plaza) in seguito al morso di un serpente velenoso. Seguono elaborazione del lutto, chiacchiere sui budini che la ragazza mangiava da piccola, partite a scacchi fino alle tre di mattina con i genitori di lei Maury (John C. Reilly) e Geenie (Molly Shannon) che cercano di mantenere in vita il ricordo di Beth. Questa non tarda a farsi viva, come se niente fosse accaduto, come se si fosse trattato di uno scherzo di cattivo gusto. Continua la lettura di “Life After Beth” di Jeff Baena
Article by: Nicola Gambarino
Translation by: Elettra Abatucci
Zachary Orfman (Dane DeeHan) is a rich middle-class boy, who lives in the wealthy district of Brian Grove. He lost his beloved girlfriend Bethany (Aubrey Plaza) due to a snakebite. The Slocums, Beth’s parents Maury (John C. Reilly) and Geenie (Molly Shannon), try to develop a filial relationship with Zac in order to keep Beth’s memory alive. They grieve, they chatter about the puddings that she liked to eat in her childhood and play chess until three in the morning.
However, Beth will soon literally get in touch with them, as nothing ever happened or as it was all just a trick. It seems like somebody in heaven decided that it was not her moment to push up the daisies. She is then ready to restart her life without having memory of what happened. With the help of her parents, Zach and Beth can live again their love story where they interrupted it; he seems to love his girlfriend if possible more than before. Then many strange things start happening in the neighborhoods, arousing Zach’s worries. At first, he was skeptic and joked around the fact of having a zombie girlfriend, but he will soon realize that it is the truth. It is only a matter of time before many departed ones decide to revive in order to hug again their beloved relatives… and possibly give them a bite.
Forget Joe Dante. Leave John Landis. Forget the first Ruben Fleischer as well. Jeff Baena, a brilliant first timer, sets George Romero’s revenants free in the streets of a smiling Suburbia, where Jewish Cabala clashes with Haitian voodoo, and the Yankees more Yankees than ever always keeps up with his stereotype: holding a Bible in one hand and a Desert Eagle in the other, feeding himself of B-movies and paranoia.
Dead people no longer rest in peace, as they have awakened in a bad mood, claiming rights that died out together with them. Love wins over death, but not over hunger, (there are many two-ways in the background playing on physical and sexual hunger). This politically incorrect comedy also denounces the absurdity of the US wealthy middle class, spiced up with a marvelous soundtrack provided by Black Rebel Motorcycle Club.
“I’m a zombie. How the fuck am I supposed to behave?” yells the amazing Aubrey Plaza to her boyfriend Dane DeHaan (another big revelation of the underrated fanta-mockumentary Chronicle by Josh Trank [2012]) while eating avidly his Saab’s seats. Exactly. How? Human nature, alive or not, is the central theme of this beautiful, yet wacky fairy tale, which mixes horror and drama. It is disturbing, but funny at the same time, it also cleverly speaks about human feelings, and relationships, making the audience reflect upon an issue: do we really wish our relatives departed for a better place, to return?
Article by: Emanuel Trotto
Translation by: Giulia Magazzù
Who said that a remake is a less important film than the original? Certainly, if in the new product does not provide anything more – or even less – of what was suggested in the model, then the answer is “yes, it is just an unnecessary duplication”. Many recent operations of this kind prove that this theory is true (Carrie by Kimberly Pierce, for example). However, if starting from the original product we decide to take a completely different way, working on elements that become peculiar of the new feature, then we have something more: think of The Departed by Martin Scorsese and of the relationship with Andrew Lau’s Infernal Affairs. These two films are completely autonomous. Jim Mickle’s We are What We are belongs to this category.
We are What We are is a re-imaging of the Mexican film Somo the que hay by Jorge Michel Grau (2010). If the “prototype” (if we can define it so) is set in the streets of Mexico City, Mickle sets his work in the province of Castkills, the poorest area of the state of New York, anguished by floods. The floods bring out numerous buried human bones, not far from the home of the Parker family, which is mourning the death of the mother. The family is dominated by authoritarian father figure of Frank, who obliges the three children (two teenagers, Iris and Rose, and little Rory) to a period of forced fasting in view of an important ritual of which, since the mother has died, the eldest daughter Iris becomes the main celebrant. It consists of killing young women and then feeding themselves with their flesh.
Especially in this part, Mickle’s film differs widely from the original: eating human flesh is not something related only to a routine or to something ancestrally necessary, but it is much more: it consists in literally taking into account the evangelical concept of feeding oneself with the body of the Lord (as a matter of fact, the story unfolds between Friday and Sunday). It is also something atavistic, primitive, which survives in the tribal cultures, where the body of the defeated enemy is both a source of food and of the power of the winner. The victims are girls, and the story revolves mainly around the two older daughters: they are a little more than teenagers, with a irrepressible and longing sexuality that the father-master nips in the bud. Feeding on the sexually active (or immature) bodies of the victims gives them the power to get along without the carnal impulse. The temptation of the flesh with the flesh.
Genre films, and especially horror films, have always fielded the uncertainties and fears of the times in which they were filmed. Jim Mickle, who has always loved horror movies (his favourite movies are The Evil Dead by Raimi and Suspiria by Argento), uses them as a tool for a strong polemic against the institutions, a second level running parallel to the horror theme, as he had already done in Mulberry Street (2006) and Stake Land (2010).
Here, with a gothic film style setting, he focuses on religion, its madness, its most hidden side. Taking quite literally Stephen King, who argues that “in order to scare the others, we need to talk about something that scares us”, he sketched a dark film that speaks of faith that, in real life, can be terrifying. And the fear of the unknown that religion gives us is more frightening than anything else.
Quello che ci fa paura di più
Chi ha detto che un remake è un film inferiore rispetto all’originale? Certamente se il nuovo prodotto non contiene nulla di più – se non addirittura meno – di quanto c’era nell’originale, allora la risposta non è altro che un “doppione”. Molte recenti operazioni di questo tipo ne sono la prova (Carrie di Kimberly Pierce, per fare un esempio). Ma se invece si parte dal prodotto originale come idea iniziale e poi si decide di prendere una strada completamente differente lavorando su elementi nuovi, allora si può realizzare qualcosa di più: si pensi a The Departed – Il bene e il male di Martin Scorsese in rapporto con Infernal Affairs di Andrew Lau. Sono due prodotti completamente autonomi. Continua la lettura di “Whe Are What We Are” di Jim Mickle
Spazio ai giovani promettenti del panorama internazionale
Con Tôi quên rôi –I forgot, il giovane regista argentino Eduardo Williams propone questa volta un lavoro più lungo del suo precedente cortometraggio: ventisei minuti in cui mostra, in modo discontinuo, le esistenze anonime di alcuni ragazzi che trascorrono le loro giornate tra il lavoro, le uscite e il parkour. Quella che viene rappresentata è una generazione pronta a saltare da un tetto all’altro, che vive sospesa in una realtà a mezz’aria. Dichiara il regista: «Questo film è nato come un’opportunità per me di collocarmi nel luogo ipotetico che preferisco quando dirigo o guardo un film, ovvero lontano da ogni certezza. Cerco sempre di perdermi dentro queste esperienze, così da generare il vuoto che mi dà la possibilità di superare i miei limiti». L’immagine che ne risulta è quella di una quotidianità snervata e snervante, esasperata dall’uso della camera a mano. La trama risulta troppo lacunosa e la fotografia fastidiosa, se non per l’ultima ripresa dall’alto che chiarisce allo spettatore il senso della frammentarietà delle scene. Continua la lettura di “Tôi quên rôi – I forgot!” di Eduardo Williams e “La Huella en la niebla” di Emiliano Grieco
Article by: Alisa Marghella
Translation by: Giulia Magazzù
After Pude ver a puma, Eduardo Williams comes back to the TFF with another short film, Tôi quên rôi – I forgot!, which preceded the screening of The huella en la niebla.
With Tôi quên rôi – I forgot!, the young Argentine director proposes a longer film (maybe too long, since it had to precede the next film). It is a twenty-six minute movie that discontinuously portraits the anonymous lives of some guys who spend their days between work, hanging out and parkour. He portraits a fragmented generation, ready to jump from one roof to another, who lives in a suspended reality.
In the director’s words, «This film came to me as an opportunity to locate myself in the hypothetical place that I prefer when I direct or watch a movie, or far from any certainty. I always try to get lost in these experiences, in order to generate a vacuum that gives me the opportunity to exceed my limits». The picture that emerges is that of an unnerved and unnerving everyday life, exasperated by the use of hand-held cameras. The plot is too incomplete and the photography annoying, except for the last shot that clarifies to the viewer the sense of the fragmentary nature of the scenes.
La huella en la niebla is certainly a more pleasant movie. Directed by another Argentine director, Emiliano Grieco, it tells the story of Elias, a wounded man who returns to his island in order to rebuild his life. The wound, however, does not heal, and despite his efforts the fog ends up swallowing him.
Grieco does not employ a real actor, but a fisherman. He uses no dialogues at all, but water looks like the real star of the film. Considered as the conclusion of the documentary The Son of the River, the first work of the young director, this film lies somewhere between the great stories of Dickens and Conrad and documentary, making a good use of photography. The contrast between in focus and out of focus images serves as a narrative liaison, allowing the director to take advantage of the suggestions offered by the landscape to describe the emotions of a man trying (to no avail) to find traces of the past through the river. Overall, though, the narrative results are extremely “confusing” and the goal of placing the character in an interior limbo, unfortunately, leaves the viewer in that limbo too.
Meglio macellai che vitelli
Mange tes morts è il peggior insulto che si possa dire ad uno zingaro ed è anche il titolo del nuovo lavoro di Jean-Charles Hue, regista che aveva già partecipato al Torino Film Festival nel 2009 con Carne viva, un ritratto di Tijuana. Il nuovo lungometraggio di Hue è un bildungsfilm che nel finale diventa un road movie dai tratti esistenzialisti. Il film, nella parte iniziale molto documentaristico, è ambientato nella comunità nomade dei Jenisch. La trama è semplice, anche fin troppo, e consiste in un viaggio tra i “gadjo” (i non gitani), per rubare un carico di rame. Continua la lettura di “Mange tes morts” di Jean-Charles Hue
Article by: Alessandro Arpa
Translation by: Greta Moroni
Mange tes morts is the worst insult one can ever say to a gipsy, and it is also the title of the new work by Jean-Charles Hue. This director took part in the 2009 Torino Film Festival with Carne Viva, a portrait of Tijuana reality.
This full-length film by Hue is a story of formation that in the end becomes a road movie with existentialism features. At the beginning, the film is a documentary set in the Jenisch gipsy community. The story, which may seem too simple, consists in a journey among the “gadjo” (not gipsy people) to steal a load of copper.
The French director shot a film based on the Hamletic doubt spread among Jenisch people: the choice between baptism and the consequent submission to the atavistic Christian morals or the choice to take up a career as a master thief.
The main character Jason Dorkel – a 21st century Hamlet in Nikes – chooses the first option. But Fred, Jason’s stepbrother, compromises the calm of the community. After fifteen years of jail he comes back into the Jenisch community without changing his behaviour: he is still a criminal.
Zvyagintsev was right: the return is the most ferocious butchery of the conscience. Fred is like evil that sodomises the weakest people and leads Jason to his ruin. Until then, he was depicted as a lamb doomed to hellfire.
From now on, the film becomes less united than the first part. There are a number of surreal scenes, like the one in which Fred bravely challenges police officers that seem bored psychologists ready to listen to their patients’ troubles. Actors pretend a solemnity that does not pertain to them and often improvise in an unexpected way. Mange tes morts is a nice film but it is also defective, it is interesting but also far from being a masterpiece.
Scanditi dalle note di I Heard It Through the Grapevine (nella versione di Marvin Gaye), scorrono i titoli di testa, in sovrimpressione rispetto alle immagini dei protagonisti del film, ripresi nel privato delle loro reazioni alla notizia del suicidio di Alex, amico comune ed ex compagno di corsi alla University of Michigan. Questi primi e rapidi flash su ogni personaggio sono caratterizzanti: lo spettatore ha in pochi secondi la possibilità di conoscerli tutti.
Continua la lettura di “The Big Chill” (“Il grande freddo”) di Lawrence Kasdan
“Questa non è una storia sulla malattia, ma è la storia di un rapporto umano.”
Così ha dichiarato ieri alla conferenza stampa del Torino Film Festival Eddie Redmayne, protagonista del film The Theory of Everything, in cui interpreta l’astrofisico Stephen Hawking. Ed effettivamente è di questo che parla il film: è una storia d’amore. Ma tra chi? Tra Stephen e la sua prima moglie, Jane? O tra Stephen e la fisica?
Il film è l’adattamento cinematografico del libro autobiografico Travelling to Infinity: My Life With Stephen, scritto dalla prima moglie di Hawking. E The Theory of Everything comincia proprio dal primo incontro tra i due, per poi percorrere insieme gli anni in cui si sono amati e sostenuti a vicenda, hanno dato vita a una famiglia e si sono infine separati. Il film, nonostante i toni seri, riesce tuttavia a far ridere in alcuni punti. Particolarmente interessanti sono stati i ben due riferimenti alla famosa serie inglese Doctor Who, che hanno reso il film decisamente British.
Vestire i panni di Stephen Hawking non sarà stato certo facile, ma l’interpretazione di Eddie Redmayne, con il suo fascino e il suo carisma, ha convinto tutti sin da subito – tanto che potrebbe essere un possibile candidato all’Oscar come miglior attore protagonista. Ma per ora qui a Torino gli è stato consegnato ieri sera il premio Maserati.
Ieri mattina alla conferenza stampa l’attore inglese ci ha detto che, venuto a conoscenza del progetto, se ne è subito interessato, ma che non appena ottenuta la parte di Hawking, si è reso conto delle difficoltà che questo ruolo poteva comportare. Infatti, per prepararsi, è stato seguito dalla ballerina e coreografa Alexandra Reynolds, che gli ha insegnato come muovere adeguatamente il corpo e sfruttare solo certi muscoli. Inoltre l’attore si è recato in una clinica specializzata dove ha potuto studiare i disagi fisici ed emotivi dei malati di SLA.
Certamente un lavoro molto duro, a livello fisico e psicologico. Ma Eddie Redmayne ci dice che è stato soprattutto l’incontro con Stephen Hawking ad aiutarlo a calarsi adeguatamente nella parte, a fargli comprendere le più piccole sfaccettature di questo meraviglioso uomo, un’icona che sembra volerci dire sempre qualcosa in più, svelandoci i misteri dell’Universo, ma non solo.
Ed è su questo punto che che il film si sofferma. Non si parla in modo eccessivo di fisica, buchi neri o radiazione di Hawking, ma ci si concentra sui rapporti umani, sulle difficoltà che si possono incontrare lungo il cammino e che possono essere superate solo con un’enorme forza di volontà e l’affetto delle persone care. È un film sull’amore e sulle differenti modalità di amare. Ed è proprio qui che sta la “teoria del tutto”.
Article by: Barbara Vacchetti
Translation by: Simona Restifo Pecorella
“This is not a story about a disease, but the story of a human relationship”, said Eddie Redmayne yesterday at the press conference of the Turin Film Festival. He is the protagonist of ‘The Theory of Everything’, in which he plays the astrophysicist Stephen Hawking. Actually, that is what the film is all about: it is a love story. Between whom though? Between Stephen and his first wife, Jane, or between Stephen and physics?
The film is the adaptation of the autobiographical book ‘Travelling to Infinity: My Life with Stephen Hawking’, written by his first wife. It starts right from the first meeting between them, and then proceeds along the years, when they were in love and supported each other, when they created a family and when finally got separated.
Despite the serious tones, it manages to be funny in some moments. The two references to the famous British series ‘Doctor Who’ were particularly interesting and gave it a decisive British print.
Playing the role of Stephen Hawking has not been easy, but the charming interpretation of charismatic Eddie Redmayne convinced everyone right away – maybe also earning him an Oscar nominee for best actor this year. For the time being, however, he has received the Maserati award last night in Turin.
Yesterday morning, at the press conference, the British actor told us that he was eager to participate in the film project but, as soon as he obtained the part of Hawking, he realized the difficulties this role could entail. In fact, dancer and choreographer Alexandra Reynolds followed him in the preparation of his role by teaching him how to move his body properly and to use only certain muscles. Moreover, the actor went to a specialized clinic where he could study the physical and emotional troubles caused by ALS illness.
Interpreting this role certainly involved a very hard work, both physical and psychological. However, Eddie Redmayne stated that it was primarily the meeting with Stephen Hawking that helped him immerse adequately in the role and make him understand even the smallest aspects of this wonderful, iconic man, who wants to reveal us something more than the mysteries of the Universe.
The film focuses precisely on this point. It does not say much about physics, black holes or Hawking radiations, but it rather concentrates on human relationships. The difficulties encountered along the way can only be overcome with a tremendous force of will and with the affection of caring people. It is a study on love and on different ways of loving. That is what the “theory of everything” is really about.
Foto di Bianca Beonio Bocchieri
Article by: Ilaria Longo
Translation by: Carla Cristina Loddo
Bacau – Turin: a distance that keeps seven children apart from their mother, who works as a caregiver in Piedmont and will go back to Romania only in summer.
Georgiana is the oldest daughter, who takes care of her younger siblings and does the housework. Their days pass in a typical way for children their age: they wake up, get dressed, and someone always cooks dinner for them. However, a fifteen-year-old girl forced to grow up too soon is the one doing all of his. The mother’s phone call is punctual and she wants to talk to all of her children, from the youngest to the oldest, but she cannot stay long on the line because she needs to go back to work. She tries to fix this by sending them the awaited package from Italy, and the children wonder if their mum remembered to buy that desired toy. However, since she did not receive her pay slip, it contains only candies, snacks, and a present for Georgiana’s fifteenth birthday. “The next package will be for your birthday, this time is for Georgiana”, says their mother. It is a life of games for the youngest children and of washing machines, dinners and lunches for the oldest. When a baby tooth is lost, when the candles are blown, with a word on the phone, the wish is always the same “I hope that mum will come back soon
Even if the first shots are cold and snowy, the air you breathe in that house is positive and warm. Georgiana’s figure is the most relevant, as she immediately gets into the role of the homemaker and the mother, though ironically she says, “I will never have children”. She is able to keep some moments for herself, from the Argentine soap opera to a night with friends, even though every time weeping or caprices interrupt her. The viewer gets used to the idea of considering Georgiana a grown-up woman, but then realizes, almost with a smile, that she is a teenager worried about her first date, (for example, when she is looking for her foundation and bobby pins). You forget you are watching a documentary and that someone else is in that house. The film director, Teodora Ana Mihai, is accompanied by four Belgian operators, who enter tiptoe in the social housing condo in the outskirts of Bacau. Only the film director knows Romanian and whispers to the camera operators, explaining the various scenarios. Sometimes the international language of games and feelings is the one that overcomes: the languages are not an obstacle anymore. Five moments of shooting in nine months and more than 150 hours of shot film. They could have filmed more, dug deeper, but the respect for this young family’s privacy is huge.
The question is instinctive at the interview after the show: “where is the male figure?” As you can see in the documentary, in the Romanian domestic hierarchy the woman is in charge. In-fact, Ionut, the 17-year-old brother, is invisible, as he spends his days playing video games. The father has vanished after an ugly divorce, not sharing family moments anymore and it is not even named. The film director does not care about the life of this man: his absence demonstrates how alone the children are.
It is an intimate and delicate work, which speaks for itself and acquires even more weight after the confession made by the film director during the presentation of the film: “I was born in Romania during the communist period; when I was seven and a half, my parents left and found asylum in Belgium. To ensure the secret services that they would go back to their homeland, they left me in Romania”. Even though they came back after just one year, this experience marked Teodora Ana Mihai. History repeats itself and with this work, she wants to give voice not only to those who emigrate from their homeland, but also to those who are forced, like her, to remain in their homeland suffering the consequences.
La storia di chi rimane
Bacau–Torino: una distanza che tiene lontano sette figli dalla loro mamma, che ha un lavoro come badante in Piemonte e non tornerà in Romania prima dell’estate successiva. Georgiana è la figlia più grande che si occupa delle faccende domestiche e dei fratelli più piccoli. Le giornate sono come quelle di qualsiasi bambino della loro età: vengono svegliati, vengono vestiti, viene fatta trovare pronta la cena. Tutto questo però è opera di una quindicenne costretta a crescere troppo in fretta. Puntualmente arriva la telefonata dalla mamma che vuole sentire tutte le sue creature dalla più piccola alla più grande, ma non può stare molto al cellulare perché incombono le faccende della famiglia italiana. Continua la lettura di “Waiting for August” di Teodora Ana Mihai
Camogli, Casa di riposo per marittimi “G. Bettolo”. Ci porta qui Alessandro Abba Legnazzi, per mostrarci come trascorrono le loro giornate diciotto marinai ormai in pensione. Il termine “rada” designa una baia dove le navi possono ancorare e sostare al riparo dai venti e dalle correnti. La casa di riposo si trova proprio in una rada, come fosse una nave alla fonda che potrebbe partire da un momento all’altro: è il pensiero comune per gli ex-marinai che l’abitano. La rada è al contempo spazio fisico e contenitore di attese, ricordi, sogni e morte e accoglie il lento trascinarsi delle esistenze dei protagonisti la cui quotidianità è scandita unicamente dall’ora del pranzo o del sonno.
Tra i film del TorinoFilmLab ne segnalo uno veramente interessante. Si tratta di In Jouw Naam, in inglese In Your Name, di Marco Van Geffen.
Il film narra il dramma di una coppia, Ton e Els, che perde una figlia poche settimane dopo la nascita a causa di una rara malattia. L’avvenimento porta entrambi, ovviamente, a faticare per ricominciare la propria vita.
Continua la lettura di “In Jous Naam” (“In Your Name”) di Marco Van Geffen
