Cinema: 5 films not to be missed when the theaters reopen
The month of May rhymes with cinema and marks the return to theaters. Not in grand style, of course, but with moderate optimism. The biggest news is the ability to see on the big screen the most loved and awarded titles at the Academy Awards, even those – like Pieces of a woman on Netflix – which are already available on the platform. In short, the goal is to rekindle the emotion of a shared vision, in the dark and amplified. This journey towards a normalization of sociability starts from great stories, characters of depth and unexpected implications.
Social distancing yes, but certainly not emotional, above all because it is impossible to remain indifferent in front of these characters, capable of leaving their mark, making them escape into another reality but above all ferrying towards a universe of varied and surprising feelings.
Here are the five titles worth taking off your pajamas, ditching the sofa and booking a ticket for.
1. RIFKIN’S FESTIVAL
Rifkin’s Festival (in cinemas from 6 May) brings to the stage the new comedy, written and directed by Woody Allen and is a hymn to cinema in its most magical essence. That is why it is set in one of the most prestigious events in Europe, the San Sebastian Film Festival, where the charming director Philippe (Louis Garrel) enters into a rather intense relationship with the press officer Sue (Gina Gershon). Her husband is jealous of this relationship, Mort Rifkin (Wallace Shawn), which still accompanies her to find inspiration for the debut novel and overcome the proverbial writer’s block. At the director’s service we find three-time Oscar winner Vittorio Storaro, iconic cinematographer. For true connoisseurs!
Philippe (Louis Garrel), Sue (Gina Gershon) and Mort Rifkin (Wallace Shawn)
© QUIM VIVES
2. A PROMISING WOMAN
Carey Mulligan won a well-deserved Oscar nomination thanks to A Promising Woman (in theaters from May 13), which earned Emerald Fennell the coveted statuette as best original screenplay. The story revolves around a thirty-year-old, Cassie, who has put her life on standby after an abuse: no more medical studies, no more hopes for happiness … but above all a single, great goal. As a sort of nightlife vigilante, he teaches men what consent means in a harsh manner and in this way he tries to do justice and remedy the darkest moment of his life. Now she finds herself working in an ice cream shop, where everything is pastel and cheerful, in total contrast with her dark soul. This film is a wonderful discovery, a gem not to be missed (it would be perfect to show even at school), a feminist manifesto with universal significance. Zero rhetoric and no do-gooders: the hard truth is a punch in the stomach, but in this case absolutely necessary.
© Merie Weismiller Wallace
One of the most anticipated films of the year is Cruella (from May 28), live action that tells the 101 Dalmatians in a prequel version. Here we see the rise of Miss De Mon, passionate about fashion and Dalmatian, to whom she lends her face a diabolical Emma Stone, more like Katniss from The Hunger Games than Miranda Priestley from The Devil Wears Prada. Who was Cruella before we made her acquaintance? An ingenious and talented scammer, Estella, who would do anything to win a place in the fashion world spotlight. In a visual fresco of rare poetry, this Disney classic comes to life with a extra dose of rebellion and sarcasm, plundering with both hands the imagery created by Dodie Smith’s novel. The antagonist – even if it sometimes seems difficult to understand who the real villain is – is the Baroness (aka Emma Thompson), another glamorous vision of unparalleled craftsmanship.
Nomadland (already in the hall) is the real revelation of the 2021 Academy Awards: Chloè Zhao, former Golden Lion at the Venice International Film Festival, won two statuettes for best film and best director, while the protagonist and co-producer Frances McDormand won the third Academy Award for Best Performer. Theirs is an emotional and physical journey into the American nomad community, with homes on four wheels and always on the move. For months the troupe has lived with them retracing the events of a woman, Fern, who has lost everything and finds herself in this universe under the banner of precariousness but also of solidarity. Beyond prejudices and beyond hopes, but without any rhetoric.
Minari (already in the hall) retraces the domestic dynamics of a Korean family transplanted to the United States. But when her grandmother Sonja (Yoon Yeo-jeong, who won an Academy Award for Best Supporting Actress for the role) arrives from across the ocean, a series of cultural and social conflicts begins, brought to light by the little boy. home, David (Alan S. Kim). A hymn to inclusiveness, tolerance and hospitality that speaks of the American dream, fragility and courage. Ordinariness becomes extraordinary when the art of compromise becomes the only possible form of survival, in the face of life’s difficulties and the desire to keep tradition and modernity in balance.