For Nanni Moretti being angry is essentially a way to step on the ground, walk.
It is not so much a matter of hate or resentment and rhythm, cadence, score.
Things look clearer and even more grace if frowning.
She began to get angry at the beginning of the 70s when she turned her life and even her own body in film gun.
IO Sono An autarchic shouted with rabies in 1974. As Bergman would say, he is the wood and the ax of him always furious.
It’s been almost 50 years old and there continues.
Perfectly angry and perfectly Moretti.
“I do not agree with the phrase of Buñuel that it was atheistic thanks to God.
No, I am an atheist and I am whistle for not knowing who to blame.
I am convinced that there is nothing after death and nobody has the decency to give me the slightest explanation, “he says as a prologue without being very clear why.
Let’s say that is the declaration of intentions of it.
His last film, three floors, presented at the last edition of Cannes, talks about people not so much angry as simply lost.
And that, we put ourselves as we put, Cabrea.
On the homonymous novel of the Israeli author Eshkol Nevo (the first film in his career about a foreign account), the story of a group of inhabitants of a single building is narrated.
There we find a father worried to the disease by his seven-year-old daughter, a first-year mother invaded by loneliness and a young man who sees how his life stops on a night of drunkenness in which he runs over a pedestrian.
The Character Gallery is animated by the Senior Plana of the Italian Interpretation starting with Moretti itself in the role of severe judge and with Margherita Buy, Alba Rohrwacher and Riccardo Scarmacio in the most outstanding characters.
What follows is the chronicle of a shipwreck, that of the absorbed Italian and universal middle class, which, in fact, is worth as a very precise portrait of the world’s failure of the privileged as a whole.
Italian does not hesitate to use the most classic resources of melodrama for as a frontal as if ruthless compose a detailed frieze of all our doubts that are also our miseries.
Let’s say that Moretti plays a little, just a little, to be Haneke.
“It’s a film,” it is explained, “of inflexible men and comprehensive women;
It is a film about life, about responsibility and about the consequences of acts ».
And follows: “I wanted to stay out of the margin.
Sometimes making cinema consists of resisting to make movies;
In denying any type of exhibition.
It’s my least Morettian movie ».
Let’s say that in the last sentence the quintessence of an autonomation that is, in the way of him, the most majestic of the anger, that of Moretti against himself.
The result is a film as lucida and emotional as convinced that a just, balanced and decent society accurate from less anguished individuals, less ridiculous and something more aware of themselves and others.
But yet, even more so that the shipwreck of an obsessed class with its privileges, which irritates Moretti right now goes beyond Moretti itself.
He infuriates his own uncertainty of cinema.
“I do not want to know anything about the platforms.
I do not understand cinema without movie theaters.
And I do not speak as a filmmaker, I speak basically as a spectator.
When I hear a young director say that thanks to Netflix, he will see in 190 countries, it saddens me.
The cinema is a personal exercise, no cinema is made as shoes are made to sell them in the world.
You have to fight against Netflix dictatorship and platforms that do not make more than photocopied cinema ».
Pause.
He asks: And what do you think about the decision of SCORSEE, for example, to work with Netflix?
“It has been a low blow.
If he surrenders, we are lost … “He answers and, as he could not be otherwise, he gets angry:” You have to avoid any producer to sell your work. ”
It is clear.
