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Mysteries of Italian cinema. The beautiful people


Mysteries of Italian cinema. There's a movie, the second film of Ivano De Matteo . It's called the beautiful people . He won the Annecy Festival, part the last festival in Turin, is appreciated far and wide across the world. And above all, not even a "small" film, because it boasts a cast of actors from the first floor as Antonio Catania, Monica Guerritore, Elio Germano, Iaia Forte. Yet. Yet it has a distribution. This means that to view it in the room (or DVD) we will have to wait. What then is worthwhile asking this question, given the myopia of a system - like the middle class - is based on hypocrisy and false trends.


The beautiful people is the story Alfredo and Susan. Alfredo is an architect, a psychologist Susan. Middle-class people and progressive, youthful-looking fifty, the ready wit and an intelligent look. They live in Rome but spent the weekend of the summer in their cottage in a private estate. One day Susan, going in the country, are struck by a young prostitute who is humiliated and beaten by a man on the street that leads to a main road. He decided to save that girl. That gesture will change life forever. It will upset the balance of his family.


Produced by X Film, presented at the Turin Film Festival and won the Grand Prix Italian Film Festival of Annecy, beautiful people The second is the work of Ivano De Matteo, a past in theater workshops, short films, documentaries and important roles as an actor. Written by Valentina Ferlan, shot in four weeks with a small budget (450,000 euros) and acted by an exceptional cast (Monica Guerritore, Antonio Catania, Elio Germano, Iaia Forte, Giorgio Gobbi, Victoria Larchenko, Myriam Catania), the film De Matthew is a work that can disrupt and disturb. Behind the simple linearity of the subject, runs a 'progression from psychological thriller, "a ferocity in the sketch people as" normal "to be abnormal. A reflection acute sharp and fierce solidarity, indifference, on '(in) existence of divisions and classes.


Hypocrisy reigns supreme in some bourgeois circles, the same as De Matteo said: "The hypocrisy is like cholesterol, there is that good and the bad. There's the hypocrisy that serves to move forward, maybe not to be offensive, and the bad, the politically correct. " The protagonists of his film this weak boundary crossing: they believe they have a certain personality, certain ideals, certain life projects. Instead wrecked in the disorder and chaos when the unexpected occurs. Diversions that lead to be other than itself and produce an exacerbated individualism, carried to extremes in the bitter end.


no concessions whatsoever to the rhetoric or didacticism, De Matteo is not pointing the finger. Rather indicates a direction, (de) composing a fresco of the Italian society, including false appearances, feelings of hypocrisy, slavery conventions. The abyss into which the characters sink is inversely proportional to the rhythm that gives it direction. Realistic angle and urgent to enact a piece of land collapsed complacency and nell'ingordigia, matter and feelings. Why "It is difficult to understand how to act when the person who starts taking the time." The end of a dream of a tear, a wry smile and a door that closes, relive the best of Italian comedy.

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The cinema crazy and extreme FFC: The film Tetro


Dark, dark, dull, dreary. Bleak as Tetrocini: Charles, Alfred Angelo, Bennie. A family in which to mingle with the secrets, resentments and generosity to the competition, and the posting of compensation. Back in style of Francis Ford Coppola after all, bristly, sometimes unresolved Youth Without Youth (Youth Without Youth , 2007). A return that is a dip in what has been successful before, upsets and failures: the cinema of pure and unspoiled The Rain People ( not Rain , 1968) or the direct ancestor Rumble Fish ( Rumble Fish , 1983), full of experimentation, free from any type of magnet spectacular. Zero degree of poetic coppoliana, as the brilliant black and white that dominates the film.


Tetro ( Tetro ) is the family odyssey that passes through three generations. Angelo said Tetrocini Tetro (the face square and impenetrable by Vincent Gallo) is a writer in full crisi, trasferitosi in Argentina per ritrovare (o perdere) sé stesso. Suo padre Carlo è un geniale direttore d’orchestra, sebbene abbia sottratto questo incredibile talento al fratello Alfie (meravigliosi i due interpreti: Klaus Maria Brandauer & Klaus Maria Brandauer). Recriminazioni e ossessioni che ritornano con l’arrivo di Bennie (Alden Ehrenreich), giovane marinaio che darà una svolta improvvisa a passato, presente e futuro. Come una luce che abbaglia, squarcia un velo e acceca una intera esistenza.


Nonostante i toni intimi, quasi sommessi, l’epica dinastia di Tetro si nutre di un cinema libero e selvaggio, ironico e autobiografico. The black and white, working-class neighborhoods of Buenos Aires, but the squalid lives (and improvised) theater, a trip to Patagonia, wacky characters that invade the scene (above all, the criticism Alone embodied by a superb Carmen Maura) are pieces of an imaginary crazy, bizarre, delicious. It's the pictures that you (dis) is, at times hypocritical and false (the literary award and the theater's gala, reflective screens and sequins), sometimes dazzling and necessary to reconstruct a vortex that is the path of a lifetime. It is so unexpected that there's flashback where color explodes and comes melodrama, fantasy, in that corner where Powell and Pressburger construct and enact their Scarpette rosse .


Perché come ha affermato lo stesso Coppola, «nulla di quello che avete visto in questo film è veramente successo. Ma è tutto vero». Come è vero che Tetro è stato scritto, diretto, prodotto e distribuito negli Usa (in Italia da Bim, un applauso) dal regista. Dopo anni di sacrifici economici, fallimenti, progetti abortiti, Tetro rivive come una rinascita dal basso. La politica degli autori torna prepotente a riaffermare con il suo miglior interprete il primato ed il candore del cinema indipendente.

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that documents: Anges Varda


«È difficile trovare la propria identità femminile in society, in private life, in relationships with their bodies. This search for identity is a way for a filmmaker: it also means running as a woman. " Word of Agnès Varda . Central figure in the history of cinema, not just French, not just women. Born in Brussels May 30, 1928, has completed his meetings in Paris that its essential life. These include Jacques Demy, her future husband, and Alain Resnais, who helped in the assembly of the first film La Pointe courte (1954). Someone talks about Nouvelle Vague, label consistently refused by the director, the cage too close to be tolerated.


Rather, in the films of Agnès Varda live together disparate elements: the essential stillness of photography, plans and fixed the deep spaces of documentary realism, visionary ideas drawn from different newspapers. A linguistic research that leads the director to develop the concept of cinécriture , writing for the cinema directly, without intermediaries literary or theatrical, having in mind the scenes, movements, deadlifts. It is here that comes a modern way of making a film, which differs from that of the past (de cinéma pope as opposed by members of the Cahiers du cinéma ") and anticipates future developments in narrative. Cléo de 5 à 7 (1962) is her first success story of a young singer (Corinne Marchand), pending a medical diagnosis that could be a terrible disease. The fear of death, (re) discovery of a profound identity, openness to the Other, the role of appearances, the fear of waiting. Reality and imagination blend, there is no distance between everyday life and fiction.


Le bonheur (The meadow of love , 1965) is another chapter in soft and hard feelings and emotions, family photo of happiness and found broken. Strong ambiguity travel instead Les Creatures (1966), beautifully starring Michel Piccoli and Catherine Deneuve. The decisive factor is the political commitment of Varda, a witness to a turbulent social period: in 1968 turns Loin du Vietnam with Chris Marker, Joris Ivens, Claude Lelouch, Jean-Luc Godard, William B. Klein and Alain Resnais, the 1963 is Salut les cubains! , short of mounting on a trip to Cuba at the time of Castro's revolution. This is his way of working: fix a photo, a body, an object, and imagine a story, a path. As Ulysse (1982) - made from the photograph of a child in the company of a dead goat and a naked man from behind, taken in 1964 - or Sans toit ni loi ( Homeless lawless , 1985), a film that makes you win the Golden Lion at Venice. Opera cut and polish dry, 'nomadic' as the main character played by Sandrine Bonnaire, including the anthropological documentary (without moral blackmail of any kind) and the mysterious lyricism, with sudden and ironic questions that remain (deliberately) missed.


In 1987 he dedicated to his friend Jane Birkin Jane B. par Agnès Varda , with the same actress realized the following year Kung-Fu Master, morbid affair in the balance between past and present, familiar also in the cast, consisting of Charlotte Gainsbourg (daughter della Birkin) e Mathieu Demy (figlio della regista e di Jaques Demy). Proprio al compagno è dedicato il doloroso Jaquot de Nantes (1990), ritratto degli anni giovanili e dei ricordi legati al marito da poco scomparso, in un intreccio straziante di arte e vita. Il film fa il paio con il sentito e commosso Garage Demy (1991), percorso esistenziale che esalta l’amore per il cinema ed il suo potere evocativo. Materializzazione dei sogni che Les cent et une nuits (1995) mette in scena con delicatezza e passione: un excursus sulla storia della settima arte, affidata alle lacune di memoria di Monsieur Cinéma (Michel Piccoli) rinfrescate dalla giovane e bella Camille (Julie Gayet) e dall’amico Italian Marcello Mastroianni.


recent years to bring a dowry of Agnes Varda's a load of new ideas and creative impulses. Les glaneurs et glaneuse (2000) is a documentary shot by junk dealers, junk dealers and scavengers, and gleaners Gleaners today. People who recover things thrown by other people. And thanks to the waste of a consumer society, they hope to survive. Exclusion of what the film, the director reveals a powerful portrait, because the gathering of these characters is like his film. In the words of François De Backer, "Agnès Varda captures the unusual, injustice, poverty, but also the symbiosis with nature, the pleasure of living in the open, simple gestures and oblivious of the collection. " Deux ans après (2002) is an appendix to Les glaneurs et glaneuse , what the people I met and filmed the previous work have become over time, "a film true, joyous, exciting and challenging as the first: Inspired by the extraordinary number of letters received, the message of admiration, but also by objects, patterns and information from its edges "(Jean-Michel Frodon). Until you reach the last Les Plages d'Agnès (2008), another patchwork of images, stories, fragments of film, dating from the evocative. This time, the beaches are to serve as a tattered snapshot of memory to make up a small, basic private universe. The Venice Film Festival returns to reward them with the prize "Jaeger-LeCoultre Glory to the Filmmaker". She returns in Edition 66 of 2009, giving Angela Ismailos moods and impressions from his Parisian courtyard for Great Directors .

The Poetics of lying vrai, the 'true lie', found in Agnès Varda symptomatic exposure. A cinema that 'documents', because the sinking of the camera lens in reality, and at the same time captures features hidden, intimate, almost invisible. A film that has made its cinécriture digit qualifier, because "the style of the film depends on the script. The cinécriture is a comment and a script that you write continuously for the duration of filming. " As a life long shots.

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What about The Good Life?


The sadness of a life generally miserable sometimes is not the only possible way, sometimes in the folds of a colorless and cold scenario is holed a "shining" of thoughts and solutions waiting for an action potential.


So while Jason Prayer (Mark Webber) consumes his life as a boy in a miserable U.S. citizen between the work station, a mother to care for the economically and morally, a disease that made him lose all his hair and unjustified attacks by an unknown unstable, the potential for a decisive change in the alcove of an old couple room film which projected only the classics, and lies in a beautiful girl, "stealing the life of Judy Garland, pulls him in the imagination of a happy existence.


The Good Life (2007) is the first feature film directed by Steve Berra , premiered at the Sundance Film Festival, won the Grand Jury Prize. An unusual film that arises in the air between the tradition of happy end, in typical Hollywood film, and dramatic scenarios most of the time of European art film. Maybe that's able to hold together the sadness and the hope that it makes an amazing job, melancholy and obstinate in its ability to survive it, or perhaps his agility derives all of the unusual Berra (his also wrote the screenplay) and is not a filmmaker by profession. The fact is that the film is a gem that, after transporting the viewer into a hellish maze of common daily life, which revives the light of another life as possible. The final ascent is sudden and built with small gestures nell'amalgama brown fish out of an anonymous world.