Category Archives: Storia dei Film

The lady of the zoo in Warsaw


Directed by Niki Caro

Poland 1939. The brutal Nazi invasion brings death and devastation throughout Europe and the city of Warsaw is repeatedly bombed. Antonina Żabińska and husband, doctor Żabinski, directing the city zoo. When the country is invaded by the Nazis, Antonina and Jan are forced to take orders from the new zoologist imposed by Reich, Lutz Heck. Soon they will join the resistance and organize, risking their lives and the lives of their own children, saving many people confined in the Warsaw Ghetto. The zoo itself will serve as a hiding, concealing cages used to protect humans. The film is based on the novel by Diane Ackerman, essayist, American writer and poet. His articles have appeared in New York Times, The New Yorker, National Geographic, and he has won numerous awards, including l 'Orion Book Award precisely for this novel. Source of the book are the diaries of the true Antonina Żabińska.

A feminine film, between reason and feeling

It certainly can not say that The lady of the Warsaw Zoo is not a movie done right. It is, undoubtedly, and talks about something very important: He tells us in detail the Nazi invasion in Poland and how the people reacted, increasingly, to defend itself and its cultural openness. In this true story, linked to the zoo, until the exit of the novel Ackerman no one knew next to nothing and then it is certainly a film that is worth seeing, although unfortunately, compared to what could have been at issue and invoice level, really guilty of originality. Il film funziona, He has pace, and it is certainly good shot, enriched by the refined photography, although a bit ' "glam", of Andrij Parekh, but it is too classical and flat ... is the usual American film from the cut that we expect to see. The actors were all convincing and Chastain It is perfect for the part, as well as very good. However, the final result is weak and sometimes even excessively rhetorical, without accents. Very convincing Shira Haas, with its elegant and interesting face, in Urzula cloths. Perhaps the director, he had the makings of a big production, He declined to be on the classic, building something good without too unbalanced, but the subject was so powerful, per se, which from my point of view deserve much more, in terms of study and deepening of a narrative formula most sought. Ad ogni modo, la Expensive It continues its important attempt to bring the spotlight stories of real community: thing, given its undeniable professionalism, You can certainly do with more innovative and bold visions. Dubbing is unfortunately ugly, as often happens, and much penalizes the interpretation of Jessica Chastain.


The protagonist, nominated twice for an Oscar, It is engaged in the role of a woman who was his wife, mother, worker and that for many, During the Second World War, it became a heroine. Niki Caro (Whale Rider, North Country – Josey History), He directs the film written by Angela Workman and adapted from the book by Diane Ackerman, published in Italy by Sperling & copper from next 31 October and in turn taken from diaries Antonina Żabińska. An elaborate handover of all female, therefore, for this film developed slowly over 10 age, that branches in the large historical context of the Polish Resistance against the Nazi oppression. At the director he was interested in particular to develop the story of the way <<emerge, in the middle of a war, the size of the fight to preserve the daily life and marriage>>. As a woman, creator of life and sensitive to it in all its forms, Antonina applied to humans his innate understanding of animal psychology, trying to relieve their moods, for example through music. <<This story celebrates life in all its forms>> , says director, and the character played by Chastain It gives value to the spirit of all living beings resisting, as a woman, in fierce fear and destruction era. Antonina was fighting to stay attached to that which is good in people: to preserve the spirit of its guests and what makes us human. The underlying question, that emerges continuously from the story (but unfortunately not always from the film), is: <<Who are the real beasts?!>>. Life in the zoo highlights the central idea which led to the defeat of Hitler: you can not have control over Nature. The world goes on, Nature survives. Animal life at the bottom resists any dictatorship.


The state of Israel has honored the Żabiński mentioning them "Righteous among the Nations" for having given refuge in the beloved zoo to over 300 people, keeping them safe and making them survive the Holocaust. The screenplay was completed with the collaboration of the children of Zabinski, still alive: Lynx and Teresa, protagonists of the story.


This is the story of a Holocaust, because in fact, each experienced the same individual is different. The War Jan is that of a man who turns from intellectual minded, a soldier. The one of Antonina It is more visceral, made of compassion and defense of life, which culminates with childbirth, during the war. The Battle of Heck it was rather that of man against Nature: the zoologist had the animals to heart, but he was also ready to take on their genetic experiments, in an attempt to create mythological beasts; a controversial figure his, Nazi supporter of the idea of ​​an Aryan race that included humans, but also animals, through selective breeding. Heck was very obsessed by 'Hour, mighty bison that once populated the forests of Germany.

As already mentioned, in short, expect a very interesting story, but rather a form canonical.

In output in Italian cinemas 16 November 2017



La forma della voce, in Naoko Yamada


Adapted from the manga A Silent Voice, of Yoshitoki Ōima, published in Italy by Stat Comics, this brave and poetic feature film directed by Naoko Yamada, one of the few Japanese directors, She tells with delicacy and respect the difficulties of Shoko Nishimiya, a young girl suffering from deafness and bullied by a peer, in turn the victim of other companions. In mid-teens, involved in all existential problems that it entails, the young protagonists are wondering, at various levels, whether it is possible, in companies, change and get rid of old stereotypes or labels that people attribute you, chasing the details of sociological and psychological analysis by no means trivial or obvious.
He is having established itself as one of the highest grossing Japanese film of last season, the anime was successfully presented at Future Film Festival 2017.

Something hard to tell

To speak truly of disability and the experience that it inevitably entails, often we must be passed, because it is hard to imagine ... You have to have them known, those sweet girls dreamy-eyed projecting like all toward a future of love and life experiences, or those guys when anger grows, because they would like to play with others, and feel part of the group. Tutti, in some way, We cross this stage, during our teenage years, but in the case of so many unfortunate people is the lack of perspective, to make the idea of ​​unbearable future and gloomy. There is a strong feeling of not being, unavoidably, "Like the others" and of being the road blocked for a multitude of things, if not independence. And it's hard to tell this distinct feeling of lack of freedom, the despair that comes, realize that desperate, Also not wanting us to think, You can not just say and do a multitude of things that others will always give for granted.


With the distinctive style of the best-known authors such as Makoto Shinkai and Hayao Miyazaki, La forma della voce He has been able to tell the exciting story of two teenagers who will have to terms with their convergences, their problems and self-knowledge. Shoko Nishimiya is a sweet deaf girl who is forced to communicate using a notebook. Shoya Ishida is a restless and always active child in competitions with friends. The lives of the two intersect in the most simple and obvious way of the world: Shoya is one of the bullies who make fun of the handicap of Shoko, torturing unbearable as only kids can do. But fate has it that, once he grew and became teenager, Shoya suffer firsthand the torture of bullying. Realizing at last what it means, the boy will try to make up for his mistakes spending time with Shoko and learning to know. central theme of the film is therefore the complexity of the relationship that can arise among teenagers, often conflictual, but also of great understanding. The anime deals with sweetness and genuineness maturation of a boy through growth and the consequent beauty that can come from friendship with the woman who was the object of his scorn. The novel has sold more than 700.000 copies in Japan, and the film is important and pleasant: the script is very refined and so egregious also describes the most intimate psychological nuances and indecipherable. The image and the shots are pleasing, fluid is colored, with original and interesting views. Very beautiful photography, with an intense and poetic study of light and temperature-color in expressive-dramatic function. The soundtrack is appropriate and not intrusive. It creates empathy and sense of suspense. All the characters are essential and carefully constructed. The only drawback: Perhaps the usual redundant effect of a typically Japanese narrative register, always a little 'verging on melodrama and dramatic for emphasizing, but compared to many other previous films, He has nothing too unbalanced.


A surprising film for touch, attention and writing. Sociological, not particularly original, but important. From make-see for children and young, to reflect on bullying and abuse and especially, about what it means to be disabled.

The film will be in Italian cinemas only 24 and 25 October:



120 beats per minute


Directed by Robin Campillo

In the Paris of the early nineties, Nathan decides to join the young activists to Act Up, Association ready to do anything to break the general silence on the AIDS epidemic that is claiming countless victims. Thanks to spectacular protest actions, Act Up gaining increasing visibility, while Nathan begins a relationship with Sean, one of the most radical movement of militants.

Act Up-Paris was born on 26 June 1989 on the occasion of the then upcoming gay pride parade, during which 15 activists staged the first "in the", remain lying on the street without a word. On their shirts were printed the equation: Silence = Death. A pink triangle, brand imposed on homosexuals deported to concentration camps during the Second World War, but upside down, He symbolized the will to oppose epidemic. The Act Up origins are linked to the anger toward the medical establishment, political and religious, whose liability and whose prejudices were the basis of the disastrous epidemic management. The main objective was to show everyone the disease, ceasing to use fuzzy pictures, anonymous testimonies and representations incorporeal.


So far the members of Act Up-Paris AIDS war fought on all fronts, developing strategies to gain knowledge areas classically preserve of doctors alone. Society in general was mobilized and educated, information were organized. Civil disobedience and demonstrations conducted skirted the law were necessary to make their voices heard, ma Act Up He has always refused physical violence. One of the peculiarities of the group is precisely to occupy public spaces not only with words, through images or signs, but using their bodies, which become real weapons of "mass representation". The symbolic impact of these demonstrations, as well as the use of fake blood or sperm, or even the ashes of members killed by the disease (a real political act), It was the response of Act Up daily aggression of establishment power.


The deep silence of Violence

120 beats per minute, both lyrical film, how lovely picture from the point of view, It is a profound declaration of love to life. A powerful and disarming love story, both torque, collectively. A story that makes us understand what the gay community is no different from the ethereal and that brings to mind what political activism, to live in and for the community, all linked by a single inevitable fate, all roommates in the same house. Sessantottino re-emerges the image of "political funeral", there against the face of the fact that we are born, we live and die in an inevitable community.

Greeted as a masterpiece at the last Cannes festival, where it won the Grand Prix, the Fipresci award it is to Queer Palm, 120 beats per minute It is set to become one of the biggest film events of the season, and is a major motion picture, essential, necessary. A story that deeply moved: powerful, sweet and violent, enhanced by an incredible acting first, and the first order and sharp-photography, Contemporary, but also very poetic, of Jeanne Lapoirie. You can not forget the image of the bloody Seine and the dust of the ashes that is almost snow, transporting continuously between the two dimensions of the human being: the highest, philosophical and moral, and animal, goliardica, more natural. 120 beats per minute He is a profoundly lyrical film ... infused with poetry in every syllable, in each frame, sweet and convincing expression of each actor. The acting and directing are intense, calamitanti and passionate. The pulsating soundtrack and featuring the Arnaud Rebotini It takes us back to those years and creates temporal fractures in which fit perfectly moods, hopes and anxieties.


Philippe Mangeot, former member Act Up, He collaborated on the script, so polyphonic and intense discussions and thematic reporting, in an extremely likely, to overshadow, almost always, the line between reality and fiction. The actors, in particular Nahuel Pérez Biscayart in the part of Sean, Arnaud Valois in the part of Nathan and Adele Haelen in that of Sophie, They have played so well and their words are so believable, that is the doubt that they are part of the association, dragging the viewer continuously towards the dimension of the documentary, but in very high shape and precisely lyric.

120 beats per minute It reminds us that life is violent, but a marvelous violence. What it is worth living, fought, painful and felt, until it all becomes dust. it reminds us (and it does it with importance, and elegance) that life is all we have.


<<AIDS is a real war that has caused 42 million deaths>>, he has declared Robin Campillo, director in the running for an Oscar: <<I want you to see it all, because the political class has done nothing>>.



the Formidable (Formidable – My Godard)


Directed by Michel Hazanavicius

The affectionate and ironic portrait of one of the most important figures of French and world cinema, the one of Jean-Luc Godard, seen through the eyes of the then young wife Anne Wiazemsky. Sixty-eight, il maoism, the protests against the war in Vietnam, but above all the story of passionate and complicated love, romantic and unconventional, between Anne and Jean-Luc, who faces intense Stacy Martin and Louis Garrel. The film is adapted from the book A year apré, the same Wiazemsky.

A meta-desecration that works fine

From the Cannes Film Festival Competition arrives in the hall of the Academy Award for film director The Artist, Michel Hazanavicius, that in some way back to the roots of his success, staging again a hybrid between the spoof and homage fond. A really fun movie, the latter, that in spite of any moviegoer sacredness, disassembled and reassembled, sviscerandolo perfectly, the character of Jean-Luc Godard and bringing to mind, for those who have loved much (come la sottoscritta), all its irony, his brilliant intellect and overflowing, his being revolutionary ostentatiously, inexhaustible, and very often really harasses.


The story begins in 1967, when Godard is the most beloved of his generation director: a rebel genius fresh from filming The Chinese, with Anne Wiazemsky, younger woman twenty years falls in love and marries. These are the times of highest political commitment, on the front line with students and workers of stone-throwing in Paris in May. The artist committed gets his hands dirty, denies the public icon, He does not mind some molotov up onto police, taking a short vacation on the French Riviera just to force deletion, with Truffaut, Lelouch and other colleagues, edition 1968 of Cannes Film Festival.

IL_MIO_GODARD _-_ artwork

Godard liquid around the cinema as bourgeois kneeling in the capital of the big producers, also denies his masterpieces, come Breathless and contempt, and end up insulting everyone and everything, including his friend Bernardo Bertolucci. The only solution is for him to impose collectivism decision, applying Maoism to film crews through productive experience of the group Dziga Vertov. Even his films, The Chinese, depresses; poorly received by critics and even by the Chinese Embassy, it seems like only a few fundamentalist Marxist Leninist, but basically all the stops in order to quote the films of his past more narrative and "traditional". <<When he returns to make films like those?>>, He asks a militant marching with him through the streets of Paris ... Chasing the humble and the workers, Godard He is concerned to become increasingly less understandable from them, taking refuge in the hermitage Hermetic difficult and revolutionary experiment, while her wrecked marriage inexorably.


Hazanavicius Godard paints / Garrel like a ironic mask, regular glasses with crushed during the clashes and the bit with the shoes taken suitable action, that led him to little militants lavenders refreshing after returning home. At both screenwriting, which more properly directing, by quotations of almost all formal styles of Godard (the use of writing and overwriting, the subtexts of thought, Graphics embedded in the frame, the puns, the direct look into the camera to intervene on the dialogues of the characters themselves), the director explains and reveals, in the Redoutable: It is disassembled and complaint in person, especially at the beginning, when anarchy takes him to a lightness that will soon lose, fun in playing with his idol and become obsessed obnoxious and irritating, denying its iconic space. A Louis Garrel transfigured, mimetic, and outstanding in the thirties director, totally avoids the risk of caricature and gives us instead Godard vital that we loved and that we remember, with all his contempt for the actor (a puppet willing to give even the stupid, at the request of the director), the bourgeoisie, for environments from which he came, and also for the film industry, primary executioner of his own cultural product.


The movie fun, it is desecrating, rightly remains on the surface, without pushing too low the figure of Jean-Luc, and portraying him as an "average male" who seeks a guise object woman muse, but that does not problematize his overflowing personality and idiosyncratic relationship with the company. The portrait of an autarkic short, that as a spirit quite remembers the first Nanni Moretti, but here, beyond all reason, He would like to immerse themselves in the community, while remaining inexorably himself. The worshipers of the Great Swiss react badly, find laughable the formal tributes "Godardian" and self-teasers to the public: <<I'm just a bad actor who plays Godard>>, but who Godard instead respects the spirit and the evolution of his thinking, will happily reproduce, in a manner metacinematografica, the rift in capitalist West communication, of which he was the protagonist with great foresight.


La fotografia di Guillaume Schiffman communicates well with the direction, with set design and with proper citations of those years and all the films of Godard, valuing the intended first floors of a Louis Garrel that finally emerges, in all his skill and camouflage abilities (Also in the speech, with the same speech defects director): excellent actor, unfortunately, often confined to the roles of love comedy. Beautiful and perfect for the part, the magnetic Stacy Martin.

A hilarious short films, irreverent, naughty: in the director's spirit that he was, and revise endlessly, as well as all the films of Godard.

A film without compromises, you can only love, or hate.


The color of the hidden things


Directed by Silvio Soldini

Teo (Adriano Giannini) He is a man on the run. From his past, from the family of origin, from the beds of women with whom the night passes and from which slips off the first light of day: from liability. Work is the only thing that truly loves, He does the "creative" for an advertising agency and never off, tablets and phones keep him in perpetual and compulsive connection to the world. Emma (Valeria Golino) He lost his sight at sixteen, but she did not leave her life in the dark worsens. Or better, he riacchiappata the fly, he got into a fight with his disability and has agreed with the knowledge that every day is a battle. He does the osteopath and runs through the city with his white cane, autonomous and decisive. He has just separated from her husband and Teo, brilliant and unconventional, It seems to be the right person to indulge in a distraction. For Teo instead, everything starts to play and bet, Emma is different from all the women encountered so far, and he is attracted and frightened by his world. A wave of light catches them, but that float in happiness ends abruptly. Everyone returns to their lives, but nothing will be as before.


Telling the courage to live

Produced by Lionello Cerri and RAI Cinema, the latest work by Silvio Soldini He does not betray the poetic and intimate touch of director. Here the love story, written with Davide Lantieri and Doriana Leondeff, it becomes an excuse to ease the analysis of something much more complex and difficult to tell, namely the diversity. The difficulty of living, everyday, of those without the skills of those who takes them for granted, and that at any time rediscovers, invents and builds, with much more awareness of our, his being in the world. A Valeria Golino in high-level great reads un'Emma form that looks more real than reality and that impresses, for its realism, for his lost eyes, and the roundness and depth of his character. A linear and simple affair, impossibly precipitous and with that slight positive course and much like in Soldini, but who can tell, including the excellent performance of the actors and edited images and sought – especially at the level coloristic – of Matteo Cocco, all the drama, but also the joy of living, apparently supporting characters, like the Venetian friend of Emma and her blind student, instead in light strokes they depict a reality that has chosen to tell it as it is: ugly and beautiful at the same time, as things, how life. A film short, pleasant and not at all serious, but that in no way betrays the message you want to convey and entertaining, especially for those who love love stories with happy endings, told with elegance and tact you can find their own way, in life, whatever happens, with strength and determination, and learning to love what you have.

Come to mind films like The House Keys, of Gianni Amelio, the Behind the mask (Mask), directed by Peter Bogdanovich, but it is not the tragedy in this case to take over, but the will to live.

A major motion picture, but not heavy. However needed. Presented at the 74th Venice International Film Festival in Venice, out of competition.