2023-04-18 19:51:57
The director presents the feature film that will compete in Cannes: Il cinema italiano? Authors and good films are there, but the care they deserve is lacking
All my films are personal. More personal. Nanni Moretti nips in the bud the first comments on her latest film, The sun of the futureto be released in 500 copies on April 20 and therefore in competition at the Cannes Film Festival next May, written with Vania Santella, Federica Pontremoli and Francesca Marciano.
Three films in one, in truth: the protagonist Giovanni is a director (Moretti in the definitive alter ego later Michael Apicella) married to Paola, his producer (Margherita Buy, their fifth time in a row together) who after 40 years are showing signs of intolerance, as is his daughter (Valentina Romani), a musician in love. They are making a film set in 1956 in the days of the Soviet invasion of Hungary with Silvio Orlando as Ennio, journalist of theUnit and secretary of a section of the PCI in Quarticciolo, named after Antonio Gramsci, linked to Vera, Barbora Bobulovais decidedly more combative than him, ready to break, after the tanks in Budapest, with the orthodoxy of Togliatti.
But it is the film that Michele — who is writing a screenplay for a film from Cheever’s Swimmer — would most like to shoot a love story between two boys (Blu Yoshimi and Michele Eburnea) in the seventies, full of Italian songs: Tenco, De Andr, Battiato. I wanted to tell this, the idea of the film set in 1956 I had already had before Three floors, I had written an outline of the screenplay, then we focused on the director’s life. That is Giovanni, whom we no longer see on a Vespa but on a scooter with the French co-producer (Mathieu Amalric) in Piazza Mazzini (in my films there is but one scene shot in the Mazzini district), in battle against the young directors of gratuitously violent films and the platforms seen in 190 countries (Netflix, that one). I’ve always reacted by going against the wave. In the mid-1980s, when fake international films were being made, I created Sacher to make Italian films rooted in the territory. Then when they closed the halls I opened my cinema. And fifteen years ago, when no one cared about first works, I created the Bimbi Belli review in my summer arena. Now I make films for cinema-goers. The platforms? They are good for series.
History is not made with ifs. And instead I really want to do it with ifs, we hear Giovanni say that, luckily for him, cinema can do it just by playing with ifs. The cinema – he says to Courier Moretti — it’s not done just to please yourself with telling an ugly reality. Cinema was also made to dream of a beautiful and different reality. These are the feelings with which this film is born. Not that I follow narrative slogans, I do what I like. I follow my curiosity and desire to change. The last three films are very different. My mother it was a painful film in which there was room for comedy, in Three floors there was none, this is a film in which so many things find space. Including politics: the militancy of millions of Italians in the ranks of the PCI, the relationships between men and women over the decades, collective dreams and individual solutions, cinema and the excessive power of platforms. there in Giovanni and perhaps also in me is the desire to rewrite reality thanks to the power of cinema: whatever people say about me, and I speak not only as a director but also as a spectator; keep his power intact.
The key scene of the film – a parade in the Imperial Forums – mixes amidst the red flags all the protagonists of the 1956 film praising freedom in Hungary, alongside the Hungarian circus performers who helped, led by Orlando and Bobulova riding a elephant. It was June 21st, then I started editing the film and I thought of calling the other actors from the other stories and then I thought, why not have the actors who have been in my other films in recent years also parade? of many of the faces that have populated his cinema. The last shot on himself, with a sly gaze and a hello to the viewer. With that greeting I close this first phase of my career, a second of another 50 years opens, then maybe even a third jokes. She does not say: I am a magnificent seventy year old (I will complete them in August) but she seems to think so, net of the declared melancholy.
And he gets serious again when it comes to talking about Italian cinema: There are authors and films. The cure is missing. Too many films are thrown into jeopardy. And, speaking of his participation in competition at the next festival, he adds: My film in Cannes with two very good filmmakers. Alice Rohrwacher a very interesting director and of Mark Bellocchio I don’t have to talk about it. I’m sorry there is no Matteo Garrone. The authors and the good films are in Italy, but what is missing is the attention, the environment, the care they deserve. We’re talking about auteur films, but there are also theoretically commercial films that haven’t been commercial at all in recent years.
April 18, 2023 (change April 18, 2023 | 19:51)
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