Tre registi a confronto con la grande Storia
Era gi & agrave; was noted at the presentation of the program as in the # 146; latest edition of the Show d & # 146; Venice film art & nbsp; two were the ghosts that would have roamed through the halls: one linked to the change of the customs of the vision, linked to the ever increasing practice ; diffuse of the serialit & agrave; television (here explained by the time dilation of the films, largely exceeding two hours); l & # 146; other all & # 146;& agrave; of the themes d & # 146; Topical & agrave; , of a & # 146; in-depth historical analysis to resurrect dormant phantoms and put them in the foreground revealing their power well beyond; of a removal justified by the chronological distance. Not & egrave; certainly a case that three of the most important films ; complex, and yet very elaborate from the stylistic point of view, sink the gaze on the same historical moment and are also, in fact, organic pieces of a larger drawing ; accomplished: prequel or sequel of works that their authors have produced during their career. In some cases these are declared chapters of a long-planned trilogy.
& Egrave; the case of & nbsp; Mario Martone & nbsp; that with & nbsp; Capri-Revolution & nbsp; completes its investigation of the # 146; Italy post unitary (first chapter & nbsp; href = "http://drammaturgia.fupress.net/recensioni/recensione1.php?id=4712"> We believed & nbsp; dedicated to & # 146; action that port & ograve; to the Risorgimento outcomes and to the germs of their degeneration; second chapter & nbsp; The fabulous young man , life of Leopardi who entrusted poetry with the task of identifying the cracks of a progressive optimism). And now, provocative as a manifesto since its title, this & nbsp; which progresses to # 146; beginning of the last century of which he wants to investigate both artistic and political utopias.
And just at # 146; beginning of the century meets with l & # 146; & nbsp; survey L & aacute; szl & oacute; Nemes & nbsp; who withdraws his nightmares from # 146; horror of the lager's & nbsp; surveyer & nbsp; de & nbsp; Saul's son & nbsp;it is confirmed as the nursery of all the horrors and the explicit pathologies of the twentieth century and that is the undoing of the # 146; political structure that port & ograve; to the First World War and the subsequent catastrophic reconstruction. Here, too, the title could not be more & ugrave; explicit. That & nbsp; Sunset & nbsp; alludes without mediation to the & ldquo; finis Austriae & rdquo; investigated in the second capital of # 146; empire: that Budapest destined to live ricomposibili structures well more & ugrave;traumatic than those of Vienna. This is the telluric upheaval that will bring about; to the Weimar republic and therefore to the birth of Nazism.
To that birth one connects < b> Florian Henckel von Donnersmarck who after The lives of others & nbsp; (2006) moves his historiographical investigation backwards with a sort of enormous background that covers the great German History from # 146;erection of the Berlin Wall (1961), precisely that & ldquo; sung & rdquo; in the # 146; previous work.
Authors in their own right, almost & ldquo; patriotic & rdquo; in fidelity & agrave; to the deep roots of their own cultures, the three directors did not, of course, make the same film even though they chose all three of the same protagonist typology. Young & egrave the & ldquo; caprara & rdquo; which l & # 146;Italian Martone, in a Capri filmed with lights and colors that bring to an ancestral charm (beautiful eyes & ldquo; classic & rdquo; the director with a photograph of & nbsp; Michele d & # 146; Attanasio & nbsp; never confuses beauty with virtuosity), entrusts the task of looking astonished at its millenary civilization ; in comparison with the protagonists of the municipality created by the German painter Diefenbach all & # 146; beginning of the century and promoter of a radical revisitation of the concept of art.
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Symbolic Since Less & eacute; creature of a less metaphorical director and also because & eacute; inspired by the true story of & nbsp; Gerhard Richter & nbsp; (German artist born in Dresden in 1932, trained in Soviet Germany and moved to the West for the love of abstract painting), & nbsp; Opera without author & nbsp; also sees # 146;it is a young protagonist, grandson of a charming sterilized aunt and then gassed in the first experiments on the selection of the breed. The young man, through a painful path that will lead him ; to live the complex affair of Nazi Germany, then of the communist one, in Leipzig, then the escape to the West, little by little discovering ; his true artistic talent and therefore s & eacute; same. The historic ride of Henkel & egrave; certainly the pi & ugrave; long, and even the pi & ugrave; challenging but, perhaps for this reason, it is not fully mythopoietic.
They are all three novels of formation but the works of Martone and Nemes, even in the path they make the characters perform, stop at the apical moment of the revelation. That of Henkel is built with a trend too & ldquo; classic & rdquo; . Excessively Aristotelian throws in each sequence the roots of the next, proceeding correctly according to the principle of necessity ; and verisimilitude. S & igrave; that every action ends up being dramaturgically predictable and therefore, in spite of the # 146;& agrave; of the facts, a little & # 146; mechanics. The great historical fresco, albeit in formal mastery, becomes a little # 146; repetitive.
We used not by chance l & # 146; expression & ldquo; training novel & rdquo; why & eacute; the reflections that arise from the vision, let's say cos & igrave; , joint of the three works bring us back to the initial considerations on the two ghosts of the exhibition. Ghosts that, on closer inspection, could be reconciled in a new form of fruition in which to recompose, on the other hand ; of the serialit & agrave;Television programmatic, a different use that with his chance & agrave; of recording allows a sort of approach similar to that of the book, browsable at will. The three films that Venice has joined would be a splendid example of the series d & # 146; author.
Napszállta
Werk ohne Autor
Capri-Revolution
Cast & credits - Napszállta
| Titolo
Napszállta Werk ohne Autor Capri-Revolution |
|
| Sotto titolo
Napszállta |
|
| Origine
Ungheria, Francia |
|
| Anno
2018 |
|
| Durata
142 min. |
|
| Data rappresentazione
2 settembre 2018 |
|
| Città rappresentazione
Venezia |
|
| Luogo rappresentazione
Sala Darsena |
|
| Prima rappresentazione
2 settembre 2018 |
|
| Evento
75ª Mostra Internazionale d’Arte Cinematografica di Venezia |
|
| Colore | |
| Regia
László Nemes |
|
| Interpreti
Juli Jakab Vlad Ivanov |
|
| Produzione
Laokoon Filmgroup (Gábor Sipos, Gábor Rajna), Playtime (François Yon, Nicolas Brigaud-Robert, Valéry Guibal) |
|
| Distribuzione
François Yon - PLAYTIME |
|
| Scenografia
László Rajk |
|
| Costumi
Györgyi Szakács |
|
| Sceneggiatura
László Nemes, Clara Royer, Matthieu Taponier |
|
| Montaggio
Matthieu Taponier |
|
| Fotografia
Mátyás Erdély |
|
| Suono
Tamás Zányi |
|
| Musiche
László Melis |
Cast & credits - Werk ohne Autor
| Titolo
Napszállta Werk ohne Autor Capri-Revolution |
|
| Sotto titolo
Werk ohne Autor |
|
| Origine
Germania |
|
| Anno
2018 |
|
| Durata
188 min. |
|
| Città rappresentazione
Venezia |
|
| Prima rappresentazione
4 settembre 2018 |
|
| Evento
75ª Mostra Internazionale d’Arte Cinematografica di Venezia 2018 |
|
| Colore | |
| Regia
Florian Henckel von Donnersmarck |
|
| Interpreti
Juli Jakab Vlad Ivanov |
|
| Produzione
Pergamon Film (Jan Mojto, Florian e Christiane Henckel von Donnersmarck), Wiedemann&Berg Film (Quirin Berg, Max Wiedemann) |
|
| Scenografia
Silke Buhr |
|
| Costumi
Gabriele Binder |
|
| Sceneggiatura
Florian Henckel von Donnersmarck |
|
| Montaggio
Patricia Rommel, Patrick Sanchez-Smith |
|
| Fotografia
Caleb Deschanel |
|
| Effetti speciali
Simon Giles |
|
| Musiche
Max Richter |
Cast & credits - Capri-Revolution
| Titolo
Napszállta Werk ohne Autor Capri-Revolution |
|
| Sotto titolo
Capri-Revolution |
|
| Origine
Italia, Francia |
|
| Anno
122 min. |
|
| Città rappresentazione
Venezia |
|
| Luogo rappresentazione
Sala Grande, PalaBiennale |
|
| Prima rappresentazione
6 settembre 2018 |
|
| Evento
75ª Mostra Internazionale d’Arte Cinematografica di Venezia 2018 |
|
| Colore | |
| Regia
Mario Martone |
|
| Interpreti
Juli Jakab Vlad Ivanov |
|
| Produzione
Indigo Film (Nicola Giuliano, Francesca Cima, Carlotta Calori), Rai Cinema, Pathé Films (Jérôme Seydoux, Ardavan Safaee, Muriel Sauzay) |
|
| Distribuzione
Montironi Marie-Laure - Pathé Films, 01 DISTRIBUTION |
|
| Scenografia
Giancarlo Muselli |
|
| Costumi
Ursula Patzak |
|
| Sceneggiatura
Mario Martone, Ippolita di Majo |
|
| Montaggio
Jacopo Quadri, Natalie Cristiani |
|
| Fotografia
Michele D’Attanasio |
|
| Effetti speciali
Rodolfo Migliari, Sara Paesani |
|
| Suono
Alessandro Zanon, Marta Billingsley |
|
| Musiche
Sascha Ring, Philipp Thimm |