Il Sol dell’Avvenire, Nanni Moretti illuminates between cinema and irony. The movie review

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“Marca Budovari”, shouted the water polo coach played by Silvio Orlando in a nevril tone Red dove. 34 years have passed since that match in the Acireale swimming pool. AND with Il Sol dell’Avvenire, in cinemas in Italy from 20 April and in competition at the Cannes Film Festival 2023, Nanni Moretti has won that challenge, only apparently unequal. Imre Budavári, the highly decorated Hungarian water polo player gave his surname to a Magyar circus. Thanks to the magic of the seventh art, this time a papier-mâché day does not arise. No fake dawn, words are important, images too. And then The Fabelmans by Steven Spielberg Babylon by Damien Chazelle , The return of Casanova by Gabriele Salvatores, once again a celebrated author chooses to direct a filmica myse en abyme. As if the crisis in theaters led the most sensitive and gifted filmmakers to reflect on cinema through cinema. A game of mirrors between fiction and reality. Perhaps to save humanity from the incipient homologation will be its representation 24 frames per second. And when you die at work, you’ll have to take a sabbatical. Why, to quote Night effect Of FrancoisTruffaut “films go on like trains in the night”. And traveling aboard the convoy led by Nanni is an unforgettable experience, in the company of faces, tributes and quotations that have made Moretti a surprising builder of worlds. To paraphrase Ecce Bombowe laugh and cry because we are dealing with a great artist.

Down with the Sabots, W The sun of the future

Ennio’s irregular teeth, The journalist of the newspaper The Unit who has the face of Silvio Orlando, gives us a smile, and in a riot of cheerfully anarchic incisors, canines and premolars, introduces us to the film that Giovanni (played by Moretti himself) is making. Set in Rome in 1956 in the Quarticciolo district, it is a film suspended between orthodoxy and revolt, between “affinity and the differences between comrade Togliatti and us,” to quote the title of the first CCCP album. The Hungarian insurrection is upon us, as is the Soviet repression, but in the meantime the filmmaker is playing around with other projects. He writes the subject of a feature film based on the story The swimmer by John Cheever and dreams of a film with lots of Italian songs. At the director’s side is his producer wife (Margherita Buy) who would like to leave her husband. But the set with its secular liturgies is transfigured into a psychoanalytic setting, in a superstitious ritual. Moretti, before the start of filming, abandons himself to the propitiatory vision of Lola by Jacques Demy, enhanced by an epiphany of cream ice cream with gentle meringue, and then declares war on the sabots, historical enemies of the filmmaker since White. Similarly to the Baudelaire of Il My heart laid bareThe film lines up all the tics, phobias, idiosyncrasies of the author of I am an autarchist, which after all, with the necessary differences, are very similar to ours, or at least to those of those born between the 50s and 60s.

The sweet dreams of Federico Fellini and Nanni Moretti

The cheerful ghost of Federico Fellini lives in the naves that make up this cinematographic cathedral designed by Moretti. Starting with the presence of the circus, a stylistic feature of almost all of the Rimini master’s filmography. And Nanni’s new feature film is sort of Half past eight, a species by Beautiful Confusion to quote Ennio Flaiano. It is no coincidence that the Roman filmmaker has returned to filming in Cinecittà. And there is even a homage to the ending of The sweet life, with the sweet smile of Valeria Ciangottini and the melancholic greeting of Marcello Mastroianni. That great liar Fellini was autobiographical even when he spoke of a sole. In the same way Moretti stages all of himself and his filmography in this work: from the colored blanket of Sweet dreams, to the scooters that replace the vespa of Dear Diary. But it is not a question of an umbilical gaze, of an empty narcissistic delirium, but of coming to terms with one’s political and artistic past. That turning around in the very Roman Piazza Mancini is the equivalent of the Sufi dance, a technique for traveling in one’s memory and remembering that “everyone in life should have two or three principles”.

From Renzo Piano to Corrrado Augias, no to violence

Since the time of I am an autarchist, in which he was astonished at the news of the chair of cinema awarded by the University of Berkeley to Lina Wertmüller, at the fierce criticisms against Henry Blood Rain by John McNaughton, up to the bewilderment for the Palme d’Or assigned to titans, Moretti has always scoffed at the high rate of blood and homicide on the big screen, the excesses, the Baroque. And history repeats itself in The sun of the futureand with Nanni ready to burst onto the set of a promising young director to contest his use of violence transfigured into mere entertainment. But he does it in a hilarious way, with the complicity of Renzo Piano, Chiara Valerio, Corrado Augias and even Martin Scorsese, in an extraordinary sequence that refers to Marshall Mcluhan’s cameo in me and annie, Nanni also delights in mocking the streaming giant Netflix, with its titles distributed in 190 countries, with the coveted moments in which the public should exclaim “What The Fuck”. But above all he enjoys rewriting history with the “If”, like Quentin Tarantino of Once upon a time in Hollywood.

The Sun of the Futurea film full of Italian songs

From Stthey are just words by Naomi, a Far far by Luigi Tenco, from The song of lost love by Fabrizio De André a I want to see you dance by Franco Battiato, the sun of the future it’s really a movie with lots of Italian songs. But it is also a subversive work, to quote the phrase of the French producer starring Mathieu Amaric, An intrepid feature film that opposes the dictatorship of algorithms and marketing And you are those trapeze artists under the tent, hanging in the balance are the metaphor of the situation in which it finds itself cinematic art, it is wonderful to get lost in this spell. A superlative illustrated subsidiary of Nanni Moretti’s filmography that makes us amuse, cry, reflect, A self-portrait that invites us to ask questions, without necessarily finding answers, And net of the bad tempora currunt then life, as Mastroianni said Half past eight it becomes a party to be enjoyed together, a joyful parade in which the cult actors from Moretti’s previous films parade. Because this film, this confusion is us