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CELEBRATES the GREEN DROP AWARD for Nauslcaa VENICE FILM FESTIVAL DAILY#10 8-9 Sept 2017 Gallo) fight crime and abuse of power. Xavier Legrand’s debut film, Jusqu’à la garde is a story of violence, threats, and blackmail in a custody battle. Two spectacular Out of Competition from the Far East: John Woo goes back any Italian films in the to the genre that made him M last two days of the a star with Manhunt, the Festival: Charlotte Rampling remake of a 1976 Japanese stars in Hannah by Andrea thriller. The other is Outrage Pallaoro: a 68-year-old Coda, the final chapter of woman has her life turned Takeshi Kitano’s yakuza upside down as the man trilogy dedicated to gangster she has been married to Otomo, interpreted by Kitano for 45 years is accused of himself. Otomo is back from child rape. Veleno by Diego his Korean exile and tries to Olivares takes us in south- put his squad back together. ern Italy, where a buffalo Will he make it and exact his farmer and his wife (Luisa revenge on his rival gang, the Ranieri e Massimiliano Hanabishi? Blade todaydi Tiburius è Piazza Vittorio, coi suoi palazzi umbertini che ora ospitano negozietti cinesi, cui Abel Ferrara dedica un documentario in cui intervista gli abitanti, tra cui Willem Dafoe, attore cult dei suoi film. Altro lavoro sulla “terra dei fuochi”, dopo olti film italiani negli quello di Vincenzo Marra, Multimi due giorni di è Veleno di Diego Olivares, Mostra. Charlotte Rampling che chiude la Settimana è l’assoluta protagonista di della Critica: Luisa Ranieri Hannah di Andrea Pallaoro, e Massimiliano Gallo sono in Concorso: una donna di 68 anni affronta le accuse di pedofilia rivolte al marito, con cui è stata sposata per 45 anni. A Roma sta il luogo d’elezione della nuova aggre- gazione sociale e culturale, che favorisce l’incontro e le relazioni tra diverse etnie: continua a p. 3 press conferences palazzo del casinò VENERDÌ 8 SETTEMBRE 12.00 IL SIGNOR ROTPETER (Fuori Concorso) 12.30 PIAZZA VITTORIO (Fuori Concorso) 13.00 LE FIDÈLE (Fuori Concorso) 13.30 JUSQU’À LA GARDE (Venezia74) 14.00 HANNAH (Venezia74) 14.30 ZHUIBU (MANHUNT) (Fuori Concorso) CELEBRATES THE GREEN DROP AWARD FOR NAUSICAA SABATO 9 SETTEMBRE 13.30 OUTRAGE CODA (Fuori Concorso) There is no use in living in the past. And there is no truth in saying that there Long live is less interest in cinema today. Theatre audiences may have dwindled in number, but people do enjoy and Cinema! participate to cinema more than ever. Alberto Barbera Today film di poliziotti e yakuza - dove così spesso alla fine continua da p. 1 Takeshi's six la violenza si sublima nel momento nobilitante del Tempo Kitano (1993) sacrificio -, senza rinunciare ai suoi topoi narrativi Sonatine i protagonisti di una storia che di Giorgio Placereani racconta la battaglia umana e ha privilegiato l'aspetto umano e sentimentale in civile di un allevatore di bufale film come Hana-bi e L'estate di Kikujiro. In Zatoichi e di sua moglie contro illegalità ha dato una versione memorabile di un personag- e sopraffazione. L’opera prima gio iconico del chambara (cappa e spada giap- ponese). Si è avventurato in una trilogia poetico- critico-autobiografica riflettendo su se stesso e sulla dimensione dell'artista: Takeshi’s, Glory to Perdere tempo sulla spiaggia the Filmmaker (riprendendo il gusto demenziale di mentre si gioca al gioco della Getting Any?), Achille e la tartaruga. Con Outrage morte. è tornato con più freddezza ai suoi film di yakuza. Oggi la critica lo ama di meno? Come ci insegna Hana-bi nel bellissimo Achille e la tartaruga, l'artista deve fare la sua arte. Il successo (o perfino il talento) è Fiori di fuoco (1997) del francese Xavier Legrand, secondario. Jusq’à la garde, in Concorso, è una pellicola durissima sulla director, screenwriter, actor (as Beat Takeshi), violenza deflagrante tra due Humour is like A manzai comedian, TV entertainer, painter, coniugi che stanno divorziando narrator, polemist: many lives, all of them put on per avere la custodia del giova- violence. They film. Many tried to identify his precursor, but there’s ne figlio, ostaggio dei reciproci both come to you only one Kitano and we’ll have to make peace with Viaggio poetico e malinconico ricatti e di feroci minacce. that. The mix of humour and violence, of irony and di una coppia di sposi verso il Gli ultimi fuochi della Mostra unexpectedly, Death, a narration in a quintessential “Kitano tense”, suicidio. Leone d’oro a Venezia. vengono dal Far East con due and the more an idea of beauty of the highest level that pops up spettacolari Fuori Concorso. unexpectedly (the blood spraying on wall in Zato- L’estate di Kikujiro unpredictable ichi!), nature, especially the sea but more than that, John Woo, dopo Hollywood e i (1999) they both are, where the cruel frenzy of human beings and destiny finds precarious peace in moments of play. Kitano the better it gets started with crime drama and yakuza cinema, where ever so often violence eventually sublimates egista, sceneggiatore, attore (come Beat and is dignified in the moment of sacrifice. He never RTakeshi), comico manzai e intrattenitore te- disavowed his narrative topoi and privileged the levisivo, pittore, narratore, polemista: tante vite, humane, sentimental aspects in films likeHana-bi e ha saputo trasportarle tutte nel suo cinema. and Kikujiro. In Zatoichi, he envisioned a memo- Il tenero road movie di un bam- Molti hanno cercato di trovargli degli anteceden- rable version of an iconic character of chambara bino e uno yakuza di mezza film epico-storici ad alto budget ti, ma di Kitano ce n'è uno solo. Il mix di humour (Japanese cloak and dagger). He ventured into a tacca. degli ultimi anni, finalmente e violenza, l'ironia e il senso della morte, la narra- poetic-critical-autobiographical trilogy on himself torna al genere che l’ha reso zione che crea un autentico “tempo Kitano”, l'alta and his dimension as an artist: Takeshi’s, Achilles Brother (2000) famoso in tutto il mondo: concezione della bellezza che spunta inaspettata and the Tortoise, Glory to the Filmmaker (showing Manhunt, con Zhang Hanyu (lo spruzzo di sangue che in Zatoichi si disegna the same screwball taste we saw in Getting Any?). e Masaharu Fukuyama, è il sul muro!), la natura – in particolare il mare ma With Outrage, he is back to cold-blooded yakuza remake di un thriller giap- non solo – dove la frenesia crudele degli esseri films. Do critics love him less now? ponese del 1976. Botto finale umani e del destino trova un precario momento Kitano teaches us in Achilles and the Tortoise that con Outrage Coda, che chiude di pacificazione nel gioco. Partito coi suoi violenti artists make art. Success, even talent, is secondary. la trilogia yakuza di Takeshi Gruppo di yakuza in trasferta in dedicata al veterano Kitano una Los Angeles delirante. malavitoso Otomo, interpre- tato dallo stesso regista, che di G.P. landscapes Zatoichi (2003) torna dall’esilio in Corea per l cinema giapponese ha due facce. Sul piano comportamentale, ecco quel control- rimettere insieme la sua gang. Ilo dell’espressione delle emozioni originato dall'ethos aristocratico (un caso limi- Riuscirà a chiudere tutti i conti te, entro la stilizzazione epica è il suicidio in mare delle donne del clan in Kwaidan in sospeso con la gang rivale di Masaki Kobayashi). Di qui il pudore dei sentimenti dei personaggi di Ozu – una degli Hanabishi? mela lentamente sbucciata esprime tutto, nel finale diTarda primavera – e che oggi ritroviamo in Hirozaku Kore-eda. Ma c'è anche il Giappone plebeo e selvaggio portato sullo schermo, per esempio, da Shohei Imamura, in cui fin dai titoli ritorna la parola “desiderio”, oppure pensiamo al grido ossessivo Eijjanaika (“Cosa ce ne impor- Lo spadaccino è cieco ma ‘ci past conferences ta?”) della folla scatenata di questo film. È un’opposizione che può riprodursi all'interno del vede’ meglio degli altri. singolo film: torna alla mente il contrasto fra l'umile vasaio e la raffinata dama fantasma nei Non c'è niente Racconti della luna pallida d'agosto di Mizoguchi, e forse nessuno come Kurosawa ha sapu- Achille e la tartaruga to giocare su questa contraddizione. Pensiamo all'impiego di Toshiro Mifune in opposizione (2008) di macho nel mio al contegno della casta dei samurai in Rashomon e ne I sette samurai. Ma evidentemente film, descrivo la contrapposizione non si limita alla rappresentazione delle classi sociali; attraversa fe- piuttosto delle condamente tutto il cinema giapponese sul piano dello stile. Basta pensare a come gli stessi poverissimi montanari di Narayama bushiko vivono la stessa vicenda in due versioni, nelle donne forti, potenti, forme stilizzate, reminiscenti del kabuki, di Keisuke Kinoshita e in quelle fortemente na- coraggiose; questo turalistiche di Imamura. E man mano che ci allontaniamo dal periodo “classico”, come non pensare allo ‘scandaloso’ Nagisa Oshima, o al delirante Seijun Suzuki, a Koji Wakamatsu e a è il mio intento Shinya Tsukamoto? Col progredire del tempo, la Miss Oyu e la Lady di Musashino di Mizo- Epopea di un pittore senza ta- Abdellatif Kechiche guchi sembrano allontanarsi come in un sogno. lento impassibile come Buster Keaton. The movies I like to make are very rich and full of passion. Some people see me as an action director, but action is not the only thing Tribute to in my movies. I always like to show human nature – something deep inside the heart Takakura John Woo Zhuibu (Manhunt) Sala Darsena h. 21.30 KrIeg (War) CultCharlotte rampling Orizzonti di Delphine Trouillard LA feroce guerra nvecchiare? Me ne frego!».
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