R.ien ne va plus… It also comes to a conclusion Venice 79the 90th anniversary edition of the Venice Film Festival. The program is rich: Les miens by (and with) Roschdy Zem, Clear by Susanna Nicchiarelli e No Bears by Jafar Panahi. Out of the race, Nuclear by Oliver Stone, Copenhagen Cowboy by Nicholas Windn Refn and – closing film – The Hanging Sun by Francesco Carrozzini.
Film in Venice: Roschdy Zem sex symbol from beyond the Alps
Family portrait in hell … No, let’s not exaggerate: it has the tone of a comedy Les miens by Roschdy Zem, French sex symbol for demanding women (remember it in Roubaix, a light in the shadow by Arnaud Desplechin?). Everything revolves around Moussa (Sami Bouajila), a loving brother as opposed to Ryad, an arrogant TV presenter (Zem himself). Until a fall, causing a head trauma, frees him from all inhibitory restraints and pushes him to speak without filters, telling all relatives what he really thinks of them …
“Shooting this film was not a decision, it was a necessity,” says the director-protagonist. “I had never revealed such personal issues in my works (he is the fifth director, ed). I wanted to share drama, conflict, neurosis, pain and even moments of happiness, avoiding cultural or religious distortions, which for me are always too present when it comes to a generation of immigrant origin. The family is a refuge from which one must escape, to be able to show oneself how one is ».
Clare, saint and revolutionary
Susanna Nicchiarelli takes us to Assisi in 1211 with Clearon the night he runs away from home to join his friend Francesco, and then follows his free and revolutionary path, opposition to the Pope included. The protagonist Margherita Mazzucco (already The friend genesale) is flanked by Andrea Carpenzano, Carlotta Natoli, Paola Tiziana Cruciani, Luigi Lo Cascio.
In Venice, the film on Santa Chiara on the side of the least
Let’s leave it to the director, Susanna Nicchiarelli: «The story of Chiara and Francesco is exciting. Rediscover the political, as well as the spiritual, dimension of the “radicality” of their lives – poverty, the choice to lead an existence always on the side of the least on the margins of an unjust society, the dream of a community life without hierarchies and mechanisms of power – means reflecting on the impact that Franciscanism has had on secular thought , questioning himself with respect on the mystery of transcendence. The life of Chiara, less known than that of Francis, gives us back the energy of renewal, the contagious enthusiasm of youth, but also the drama that any revolution worthy of the name brings with it “.
In Venice a film without a director
Khers nist (Bears don’t exist) – two parallel love stories hindered by the strength of superstition and the dynamics of power – will be presented without the director: Jafar Panahi – formerly Golden Lion at the Film Festival in 2000 with The circle – is under house arrest in Iran. His fault? Having demonstrated with numerous colleagues for the arrest of two other directors, Mohammad Rasoulof And Mostafa Aleahmad, on July 8 against violence against civilians in Iran. The saddest red carpet – and that must make us think the most – of Venice 79.
Stone’s yes to nuclear power
“Open scene” reflections also with Nuclear by Oliver Stone. That he has a very specific thesis and definitely not – no nukes for the future of the planet. “Climate change has brutally forced us to rethink the ways we produce energy as a global community. Long thought to be dangerous in popular culture, nuclear power is in fact hundreds of times safer than fossil fuels and accidents are extremely rare, ”he explains.
“How can we free millions of people from poverty and, at the same time, rapidly reduce greenhouse gases such as carbon dioxide, methane and, in many countries, those derived from the combustion of coal? Renewables, such as wind and solar energy, can certainly contribute to this transition, but they are limited by climate and geography. While, on the one hand, no miracle batteries are on the way to save us, on the other, engineers are marketing plans for new, small-scale nuclear reactors that can be mass-produced at low cost. We have to make this transition, and quickly ».
The future is woman on Netflix
Nicolas Winding Refn presents six episodes of a Netflix noir series which has as its protagonist a heroine, Miu (Angela Bundanovic), engaged in an odyssey (also) in the supernatural. “Copenhagen Cowboy” explains the director, «Is born from my revolutionary fire and tries at the same time to seduce and entertain the senses. It is designed to stimulate the mind, eyes, tongue, heart and soul: tensions and emotions ignite in a macabre tour de force that manifests itself in Miu, a new incarnation of my alter egos, fundamental in my past work , present and future: Bronson (Tom Hardy) in BronsonOne Eye (Mads Mikkelsen) in Valhalla Rising, Driver (Ryan Gosling) in DriveLieutenant (Vithaya Pansringarm) in Only God ForgivesJesse (Elle Fanning) in The Neon Demon and the numerous characters of the show Too Old to Die Young“. There is something to be curious about …
In Venice the film noir by Jo Nesbø
John’s escape from his criminal father, with his brother on his heels; the arrival in an isolated place in the Far North; the meeting with Lea and her son Caleb … If you are familiar with the plot, it means that you have read Midnight Sun by Jo Nesbø, adapted for the screen by Francesco Carrozzini, making his debut in fiction six years after the documentary on the motherthe director of Vogue Franca Sozzani (Franca: chaos and invention). In the caste Alessandro Borghi, Jessica Brown Findlay (the Lady Sybil of Downtona abbey), Sam Spruell, Frederick Schmidt, Raphael Vicas, Peter Mullan and the unforgettable Charles Dance.
“When I first read Nesbø’s novel I was in California and nothing could have been further from the scenarios described, but I immediately fell in love with this story of life on the edge of the world” recalls Carrozzini. “All the work I did on myself, and consequently on the film, was a bumpy, surprising and very cathartic journey, during which I became a father and learned what it means to be a son.. Stefano Bises’ writing has given great strength to this path by helping to solidify a sentimental drama with the cement of noir. And finally, the relationship with these rare talented actors gave me the discovery of the magic of making cinema, a dream that I have always had and that comes true ».
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