Beautiful and moving the new film by Giuseppe Piccioni. The rivedrei now, tomorrow and the day after, and would always have something new to say. The theme is simple and intractable at the same time: the way in which people are in the world. It 'a non-judgmental gaze of the Pigeons, indeed, is full of something almost impossible to find nowadays, or the love for these people. Whoever they are, each has its own history, nobody should be thrown away or be condemned. Seem obviousness, written by me, but go to the cinema to see this beautiful film and you will find that there is nothing obvious in it: Julia does not go out at night has the magical gift of life as it is to join with the its dead spots, small deviations that change an entire life, the disappointments continue the search for something that may not even exist. Yet it is a perfect story, from which we can not remove even a moment.
What a story, and characters: everything is so unusual, airy, open ... How long have not seen a movie like this, small but very deep, so far from "having something to talk about" our, so-called cinema committed from morality, from the ugliness any other business of this country ... You do not choke, you breathe for once instead, in a large Italian film that could be anywhere, light years away from the province of mind of many other authors of our cinemas, good since we want.
Julia does not go out at night is the story of two prisoners who are part of the way along, without illusions. Yet one of his novels, lives, another of his passions: for this reason perhaps both are far away from the fullness of life. Each following their own inclinations, both believe (or pretend) to find the fullness in each other ... Who knows if it will not be in vain. Piccioni reminds us beautifully as I can not give life without pretense and without acting, but not without passion: these conditions can also lose everything, but otherwise can not be said to have - even for a short time - lived.
In terms of "technical" the film is all to admire, starting with recitations. I've never seen, for example, a Valerio Mastandrea (who is a true actor and full) so good, restrained and sad: I would say that this is now his best interpretation. Valeria Golino, who do not usually excites me, here's an intensity never seen before, and at the same time the control of their means of expression, also good evidence of Sonia Bergamasco, always a bit 'over the top here but very believable. If we want to mention the beautiful soundtrack Baustelle, or photography by Luca Bigazzi, impeccable as usual ... Needless to continue, you should see the movie, if you still want a bit 'of good.
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