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cycle (January)

TRA REALTA’ E FINZIONE

a cura di Gloria Masuzzo

Lo scopo del ciclo è quello di porre l’ attenzione sul concetto di percezione della realtà. Partendo da un dualismo “realtà oggettiva – realtà percepita” da parte dei protagonisti, soprattutto in

Vero Come la Finzione e

The Village , dove the branching point of view further, playing with the perception of reality from fiction is also part of the spectator arrives at Parnassus, to 'deception through the' illusion of a beautiful reality that is the host in a world that is too cynical and materialistic.

Wednesday, Jan. 5 hours 21:30

Stranger Than Fiction (

Stranger Than Fiction

) of

Marc Forster

, comedy, 2006, USA, 113 '.

After ten years of tireless work, the writer Karen Eiffel is about to complete his latest book, one that perhaps could be the culmination of an entire career. The only problem that remains to be addressed is to take out the main character, Harold Crick. The woman did not even imagine that, for an unexplained event, Harold Crick is a person alive and well, what is more aware of his intentions. Fiction and reality collide when Harold, a man in confusion and yet incredibly tenacious, he learns that Karen has in mind and realizes the need to find a way to get her to change the ending (of the book and their lives) . (...) full of quotations and jokes the film has a nice rhythm, well directed and very funny. [1] (...) The script of rare originality (...) depicts the misadventures of a character that is halfway between Pirandello and Woody Allen, and as in a mirror, reflects on relationship between truth and fiction, literature and life (and vice versa), not to mention the issue of responsibility of an author in respect of his art. (...) With the recitation of dry and involving Ferrell and Thompson (...) [2] Wednesday, January 12th hour 21:30

The Village of

M. Night Shyamalan

, thriller, 2004, USA, 107 '.

Covington Pennsylvania is a quiet town surrounded by a beautiful forest inhabited by strange creatures never before seen. The citizens of Covington know of their existence but live by the motto "You do not come to our village, and we will not come into your forest." But one day the town is attacked ...

The fantastic and the realistic meet and contradict, in The Village. Started in a vague 800, the film written and directed by Manoj Night Shyamalan ends to return to our years. Everything about it, from clothing to language, seems to belong to the past, but then what happens to you is shown to the audience rooted in the present. So this is a meeting "copyright" between fantasy and reality? Or is this an error in the story, which trivializes the plot? Of the two hypotheses, the first does not give account of narrative elements that can not be attributed to the fantastic. [3] Wednesday, January 19 at 21 and 30

American Psycho's Mary Harron, thriller, 2000, USA, CANADA, 101 '.

Patrick Bateman embodies perfectly the 'values' reference of the careerists of the Eighties. His clothes are all signed, attending clubs and restaurants and just do not forget the regular frequenting the gym more 'in'. He works on Wall Street and keep everyone safe distance: "Do not touch the Rolex" is a phrase that identifies it. Hidden behind this facade is a monster that night, stoned of drugs, prostitutes and beggars slaughters. The women around him (his girlfriend Evelyn, his mistress and secretary Courtney Jean) do not suspect anything. Even the detective Donald Kimball is attracted by his personality and detecting. As long as Patrick does not come across as a double: Paul Allen. Based on the novel by Bret Easton Ellis, the film has made all of America to discuss the charge of violence it contains.

the novel by Bret Easton Ellis (publisher Bompiani) on a classic New York yuppie of the eighties and its degeneration into an amoral society, consumerism and fetishism, the film undergoes a remarkable alteration. Violence is smoothed and made ambiguous La storia viene mutilata e indirizzata sul versante ironico-satirico. (…) [4]
Mercoledì 26 gennaio ore 21 e 30

Parnassus

di

Terry Gilliam

, fastasy, 2009, Canada, Francia, Gran Bretagna, USA, 122’.

Nei nostri giorni, l’immortale dottor Parnassus, già vecchio di 1000 anni, guida una troupe teatrale itinerante che offre al pubblico la possibilità di valicare i confini della realtà grazie a uno specchio magico in suo possesso. Tra i teatranti si trovano Anton, un esperto prestigiatore e un nano. Ma Parnassus ha un prezzo molto alto da pagare per le sue magie: il suo creditore è il diavolo in persona, che chiede come pagamento la bella figlia di Parnassus. Raggiunta da Tony, un misterioso personaggio (impersonato da Ledger, Depp, Law e Farrell) la troupe deve così avventurarsi in mondi paralleli per ritrovare la ragazza.

Terry Gilliam ha portato sullo schermo, per la prima volta nella storia del cinema, uno specchio. Ma qui non si tratta di quello che contende la scena agli attori sul palco improvvisato del dottor Parnassus. E’ lo schermo stesso ad assumere le sembianze di uno specchio: su di esso si riflette atrophied the imaginative faculty of a public disoriented in the face of constant becoming. It 's a journey of initiation in which the viewer discovers, as appropriate, logical and uncompromising fertile ground for poetry. The initiation is essentially to be deceived by substitutions that take place on the stage, leaving aside any pretense of logical rigor-narrative. Today the audience, but more generally the man is so cynical, shrewd, accomplished, one might say over, for fear of being deceived that forgets the illusory nature of their certainties. It 's why - I fear - "Parnassus" will not collect the success it deserves . [5]

Critical Notes:

[1] Lietta Tornabuoni - Magazine: The Print

[2] Mark Jones - Head: Ciak

[3]

Roberto Escobar

the sun-24h

[4] Lietta Tornabuoni – La Stampa

[5] Terry Gilliam – mymovies.it