“La Bella Estate” and “Animale” – Libération

by time news

2024-11-26 10:45:00

An adaptation of Pavese and an allegorical story ⁣of initiation in the Camargue.

«La Bella Estate» by Laura‌ Luchetti

Adapted from Beautiful summer de Cesare Pavese, the Beautiful Summer tells a few months of Ginia’s‌ life in‌ Turin in 1938: a reserved young seamstress, she will gradually awaken⁢ thanks⁣ to ⁢the company ‍of a handful of bohemian artists, and will⁢ fall in love ​with a model. Pavese’s courage ⁣and style are unfortunately completely absent in this adaptation by ‌Laura Luchetti which exudes encaustic academicism. Costumes that are ​too well ironed and worn, general ⁣seriousness of tone, silences at the⁢ end of the sequences ⁣that signal the absence of ⁣any imagination outside of the ‍clever jokes, the Beautiful Summer suffers cruelly from having no other horizon than the academic reconstruction of a past that probably never existed as it did. Among ⁤the ghosts that populate the film, the presence of the diaphanous Yile Yara Vianello, already seen in the Chimera by Alice Rohrwacher,⁣ the only one who seems to bring with her something like the​ breath of life. L.Tu.

The Beautiful Summer de Laura Luchetti with Yile Yara Vianello,⁢ Deva‍ Cassel… 1h53.

“Animal” by Emma Benestan

It’s all there⁢ and‌ could be in a PowerPoint presentation. The trendy promise of a new school of French genre cinema, brought forward by a thirty-year-old director. An imaginary⁣ territory full of myths⁣ (the ‌Camargue, its wild bulls, its closed world of local farmers and cowboys), the⁢ allegorical ⁢story of⁣ initiation, the metamorphosis ⁤of an outsider heroine who dangerously ⁤puts her animality to the test. ‍We see the key words flashing in neon: ‌history of initiation, ecofeminism, fantasy, denunciation​ of toxic masculinity. Or the new academicism of the conscientiously “singular” feature film: however, it seems like a festival formula that⁤ we will soon no longer be able to see in painting, and ⁢which we imagine can be adapted for a long time to the point of absurdity: in the virile environment ‌of dog breeding ​/‍ of viticulture / of truckers / of nuclear engineering, a​ ferocious beginner transformed at nightfall into a werewolf / Poitou donkey / giant tire /‌ Godzilla… AS

animated by Emma Benestan with Oulaya Amamra, Damien Rebattel… 1h40.

What themes does Laura Luchetti’s​ adaptation of “La Bella Estate” explore compared to Cesare Pavese’s​ original work?‍

Interview: Exploring the Artistic Depths of ⁤”La Bella Estate”

Time.news Editor: Good morning, everyone! Today, we’re diving into the world⁤ of cinema and literature ⁢with an esteemed‌ expert ⁣on adaptations, Dr. Maya Verdi. Dr. Verdi ⁣has a ⁤wealth of knowledge on how literature translates to screen, ⁤and we’re excited to discuss Laura‍ Luchetti’s ⁤recent adaptation of ⁤Cesare Pavese’s “Beautiful Summer.” Thank ‍you ‍for joining us today.

Dr. Maya Verdi: Thank you for having me! I’m thrilled to talk ⁢about this‌ film.

Editor: Let’s start with the source material. Pavese’s original work has a special‍ place in ⁢Italian literature. How does “La Bella Estate” attempt ‍to capture the essence of his writing?

Dr. Verdi: Well, Pavese’s “Beautiful​ Summer” embodies themes of youth, love, and ⁤the search for identity‍ against the backdrop of 1938 Turin.‍ The protagonist, Ginia, experiences ‍a journey of awakening through her interactions with a group of bohemian⁣ artists. However, Luchetti’s adaptation seems to struggle to fully convey these profound layers.

Editor: ⁣Interesting! You⁤ noted the film’s “encaustic academicism.” Could you elaborate on what you‍ mean by that?

Dr. ⁤Verdi: ‌ Certainly! When I ⁣refer to “encaustic academicism,” ⁣I’m ⁣pointing to the film’s overly polished ‍presentation—like perfectly ironed costumes and a serious tone​ that resembles an academic exercise rather than a heartfelt portrayal of Ginia’s journey. ‌It feels as if the filmmakers prioritized‍ fidelity‍ to historical ‌detail ⁢over emotional authenticity, which may‌ distance the audience from the character’s deeper experiences.

Editor: That’s a compelling critique. It ‌sounds‍ like ⁣the film lacks a ‌certain vitality that is present in Pavese’s prose. ‍Were there particular elements where you felt this absence most acutely?

Dr. Verdi: Absolutely.⁢ For instance, ​Pavese’s prose is rich with poetic imagery and psychological depth that draws readers into ⁣Ginia’s introspection and conflicting emotions. Luchetti’s adaptation contains moments that ‍signal emotional weight, like deliberate silences at‌ the end of ​sequences, but they often feel more like​ strategic pauses than organically developed moments of reflection. The film doesn’t quite ⁤capture the dynamic spirit of Ginia’s life as⁤ it ​unfolds, ⁣which is vital in the‍ original⁤ narrative.

Editor: Looking at Luchetti’s depiction of the bohemian artists, did it enrich Ginia’s story at all, or did it​ prove to be more hindrance than help?

Dr. Verdi: It’s​ a ‌mixed ⁤bag, really. ​While those artists ‍are instrumental in Ginia’s ⁣awakening, their portrayal appears somewhat two-dimensional in the‌ film. They lack the nuance and‌ depth that would enable them to resonate‍ with today’s ⁤audience or to influence Ginia’s journey⁣ meaningfully. Instead ⁤of ‍serving⁣ as catalysts for her transformation, ⁢they feel relegated to a background role, which diminishes the vibrancy ⁢of her story.

Editor: That raises an⁢ important point about character development in adaptations.⁣ In your opinion, what could Luchetti have done differently to better honor Pavese’s vision?

Dr. Verdi: First and foremost, I think Luchetti could have injected more of Pavese’s poetic⁢ style⁣ into the film.⁣ This could have been achieved through creative visual storytelling or inner ‌monologues that echo his language. Additionally, ‍diving deeper into the emotional complexities of Ginia—her struggles, desires, and growth—would ⁣have made‍ her journey feel ⁢more relatable‌ and​ impactful. ​Less of‍ the polished surface, and ⁣more of the raw, messy reality of ⁤initiation into adulthood could have ​made‍ for a much stronger adaptation.

Editor: ⁢ These insights are invaluable,‍ Dr. ⁢Verdi. As an expert⁣ on⁣ adaptations, what​ advice would you give to ⁢filmmakers ‌who⁤ wish to translate literary works to ​the ‌screen?

Dr. Verdi: I would emphasize the importance of capturing ​the heart and soul of the original‌ work rather than merely its plot. It’s essential ​to delve into the thematic ⁢essence and emotional core—the “why”⁤ behind the story. Filmmakers should feel empowered to reinterpret the material creatively,⁤ making it resonate with contemporary audiences while respecting‌ the‍ original author’s⁢ intent.

Editor: Wise words! Thank you so much for sharing​ your​ insights on this adaptation and the⁤ nuances of literary translations to film. It’s been⁣ a pleasure having this⁤ conversation‌ with you.

Dr. Verdi: Thank you! It’s been a⁢ wonderful discussion, and I hope audiences give “La Bella Estate” the thoughtful⁢ consideration it deserves, perhaps igniting a broader conversation about adaptations in‌ cinema.

Editor: Absolutely! ‌Until next time, viewers, keep exploring the rich ‍world of literature and ⁢film!

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