This Italian film, incorporated with Roman Polanski, is about a typical male business exec, who decides it’s best to ’sit out’ while his company merges with an American group.

It’s out on DVD from the latest grouping of IFC releases.  The film, called “Caos Calmo” in Italian, stars writer/producer/director/actor Nanni Moretti (a male) and actually, Valeria Golino (“Rain Man,” “Big Top Pee-Wee”), as Moretti’s neurotic sister-in-law.

To keep it brief, this movie was actually quite a roller-coaster from start to finish.  Some of the scenes are amazing, while the film does kind of drag on.  Megan asked at 1:30, roughly, “How long is this movie?”  Honestly, it keeps up because some of the transitions are perfect and many scenes are good enough to stand on their own.  Additionally, what might make it famous for years to come is the semi-unexpected, intense sex scene.

The only thing was The Polanski. His name pops up at the end of the film and you’re like, “I knew it!”  He plays the American CEO, “Steiner.”

Oggi pomeriggio ho visto il DVD.

Avevo letto il libro quando era uscito, e non sapevo bene che cosa pensarne.

Il film invece mi è piaciuto molto e, cosa strana, ho trovato Moretti perfetto nella parte.

E mi ha fatto venire in mente somiglianze che non avrei credute, con cose, persone, fatti puramente casuali.

Insomma, domenica di caos calmo anche per me.

Caos calmo è un film del 2007 diretto da Antonello Grimaldi e interpretato da Nanni Moretti, Isabella Ferrari e Valeria Golino, è tratto dall’omonimo romanzo di Sandro Veronesi, premio Strega nel 2006. Il film è stato in gara al Festival di Berlino 2008.

Leggi altre notizie su: | Drammatico | Antonello Grimaldi | Nanni Moretti | Valeria Golino | Isabella Ferrari

Pietro (Nanni Moretti) é um executivo bem sucedido, em um casamento feliz e pai de Cláudia, uma menina de 10 anos. Após ter salvado duas mulheres que estavam se afogando na praia, ele descobre, ao chegar em casa, que sua esposa morreu repentinamente. A partir daí, sua vida muda radicalmente. Ao mesmo tempo em que vive o caos emocional por lidar com o sofrimento pela perda de sua mulher, é preciso mais do que nunca estar calmo para exercer o papel de pai e mãe para sua filha.

Boy A:

In deze film volgen we de jongeman Jack. In een vorig leven heette hij Eric, maar dat leven is voorbij en nu krijgt hij een kans op een nieuwe start. Ondersteund door zijn mentor Terry stapt Jack terug de maatschappij binnen. Zijn nieuwe job bevalt hem wel, hij maakt vrienden en vindt zelfs de liefde. Maar het verleden komt terug spoken…

Mijn god, dit is een goeie film. Het verhaal van Jack wordt met flashbacks langzaam bekend gemaakt en toont vooral hoe kwetsbaar wij mensen wel zijn, want op elk moment kan je terug in de diepe put vallen waar je wanhopig probeerde uit te kruipen. De jonge acteur Andrew Garfield draagt bij tot dit beeld door Jack te spelen op een manier die je niet zo gauw zal vergeten.
Deze film raakt je, maar hij doet nog meer: het brengt discussies op gang. Verdient iedereen een 2e kans? Gaat justitie over straffen en heropvoeden of wraak nemen? En kunnen we kinderen zomaar berechten als volwassen zoals bepaalde (populistische) politici vaak en luid schreeuwen?
Kijken dus, deze film raakt iedereen.

North Country:

Josey Aimes heeft het niet gemakkelijk in haar leven. Ze werd als tiener zwanger en haar man is een alcoholicus die losse handjes heeft. Op een dag vlucht ze samen met de kinderen van hem weg en keert ze terug naar haar geboortedorp in Minnesota. Wanneer ze hoort dat de mijn door een gerechterlijke beslissing werd verplicht vrouwen aan te nemen waagt ze haar kans om haar kinderen een betere toekomst te kunnen geven. De mannelijke werknemers zien de vrouwen echter als een bedreiging en de vrouwen worden het slachtoffer van steeds verder escalerende vormen van seksuele intimidatie. Wanneer Josey bijna verkracht wordt op de werkvloer beslist ze de mijn aan te klagen, maar de rechtzaak zet de relatie met haar ouders, kinderen en collega’s onder enorme druk. Ze zal de moed moeten vinden om te vechten voor haar idealen, zelf als dat komt te betekenen dat ze alleen komt te staan.

Interessant onderwerp, dat wel, maar uiteindelijk is het resultaat maar zo en zo. De beginscènes zijn behoorlijk rommelig, het duurt zo’n 15 min voor de film deftig van start gaat. De vele rechtbankscènes zijn te theatraal. En de vader (gespeeld door Richard Jenkins) maakt een ‘change of hearts’ door op het einde van de film die ongeloofwaardig overkomt.
Deze tekortkomingen worden grotendeels gecompenseerd door de sterke acteerprestaties van de hoofdrolspelers, maar toch blijf je hangen met het gevoel dat er meer in deze film zat.

Caos Calmo:

Pietro Paladini lijkt een tevreden man. Hij is een succesvol zakenman en is gelukkig getrouwd en vader van een wolk van een dochtertje. Maar als de plotselinge dood van zijn vrouw hem erop wijst dat hij de essentiële dingen des levens uit het oog is verloren slaat zijn leven ineens om. Hij verliest alle motivatie om zijn drukke baan als directielid bij een mediabedrijf verder te zetten en concentreert zich volledig op het enige wat hem nog overeind houdt: zijn dochtertje. Elke ochtend zet haar haar s’ochtends af op haar school en wacht hij heel de dag op haar op een bank in het parkje voor de school. Uiterlijk lijkt Pietro de kamte zelve, maar in zijn hoofd raast een diepe chaos.

Een geliefde  verliezen is voor iedere persoon een traumatische gebeurtenis en deze film is een mooie poging om dit in beeld te brengen, maar ze is zeker niet foutloos. De scènes op het pleintje mogen dan wel prachtig in beeld gebracht zijn, als de film het pleintje verlaat slaagt ze er niet in op hetzelfde hoge niveau te blijven. De manier waarop Pietro uiteindelijk van zijn depressie geneest vind ik trouwens nogal hoogst simplistisch en zelfs een beetje vulgair. Maar als afsluiter toch nog een positieve noot: de film slaagt erin in deze tijden van economische crisis te tonen dat er belangrijkere dingen zijn in het leven dan je carière najagen en geeft ook een ferme sneer naar de economische wereld met de amusante nevenverhaallijn van de bedrijfsfusie.

■ À l’occasion de la sortie en DVD, la semaine dernière, du film Caos Calmo, voici ma critique publiée sur Box(e) movies.

Caos Calmo est un grand film. Un grand film poignant et poétique. L’histoire de cet homme, Pietro, qui se retrouve “seul”, avec sa fille de 10 ans, après le décès soudain de sa femme nous touche, mais sans tomber dans un pathos extrême, et pourtant logique. Et cela grâce à l’immense talent de Nanni Moretti qui, paradoxalement à son statut de veuf, est enclos à une absence totale d’émotions, tout du moins de “crise” et de “tristesse”. C’est là la première force et originalité du film, de ce pari risqué, néanmoins réussi.

Pietro, veuf étrangement calme (Nanni Moretti).

Par la suite, l’histoire développe l’évolution de ce deuil peu commun et, surtout, la nouvelle relation qui naît entre un père peut-être trop absent et sa fille, peut-être pas tant que ça en manque de (re)pères. Cette raison de vivre semble nouvelle pour Pietro, comme si le paternel prenait -enfin- conscience de ce qui lui était cher, et que le reste, travail, argent, loisirs, n’avait -finalement- guère d’importance. Certes cela peut paraître un poil trop cliché, trop facile même, mais pourtant ça marche grâce à la mise en scène fluide d’Antonello Grimaldi, et la performance de Moretti bien sûr. Dont on attend, avec lui, cet éclat en sanglot, celui qui viendra briser ce “chaos calme” qui règne dans son corps.

“Et la magie opère, le spectateur suit ce petit bout de vie de personnages attachants avec plaisir et émotion”

On pense donc qu’on va accompagner la nouvelle vie de Pietro entre son bureau, sa maison et ses nouvelles responsabilités envers sa fille. Finalement on ne va le suivre qu’autour d’un endroit unique et insolite : un petit parc situé en face de l’école de la petite Claudia, sa fille (subtile et douce Blu Di Martino). À partir de là, un défilé de personnages secondaires va rendre visite à Pietro et se confier à lui. Certains leur parlent de leur incompréhension face à cette situation, comme ses collègues (Berling, Podalydes…) et sa famille, (son frère et sa belle-sœur, excellents Alessandro Gassman et Valeria Golino). De parfaits inconnus sont aussi de passage autour de Pietro (un handicapé mental, une joggeuse… (SPOIL : Et même Roman Polanski)) et vont devenir des pièces maîtresses dans cette nouvelle bulle de vie.

Pietro et son frère, sur le fameux banc du parc (Nanni Moretti et Alessandro Gassman).

Et la magie opère, le spectateur suit ce petit bout de vie de personnages attachants avec plaisir et émotion, le tout ponctué par une sublime musique composée par Paolo Buonvino, qui avait déjà officié sur Napoléon (et moi), Leçons d’amour à l’Italienne, Romanzo criminale, et Souviens-toi de moi, entre autre. Ces chansons enivrantes accompagnent mélancoliquement la nouvelle vie de Pietro. Le morceau Pyramid Song, de Radiohead, envoûte encore plus le spectateur lors d’une séquence mémorable, lorsque la douleur se présentera enfin…

“Pietro est avant tout un humain, il a besoin de sexe, de toucher un corps, de faire l’amour, de jouir”

La fameuse scène de sexe (avec la magnifique Isabella Ferrari), crue et sauvage, qui vient casser tout ce qui avait été instauré dans le film, permet de montrer avec habilité, à nouveau le côté humain de Pietro. Car si ce contraste brutal survient vers la fin du film ce n’est pas vraiment pour nous faire croire que Pietro a fait son deuil et qu’il peut passer à autre chose. Non, Pietro est avant tout un humain, il a besoin de sexe, de toucher un corps, de faire l’amour, de jouir. Pense-t-il encore à sa femme ? Y a t-il, de toute façon, déjà pensé autant avant qu’elle soit morte ? Au spectateur de trouver sa propre réponse.

Pietro et la belle Eleonora (Nanni Moretti et Isabelle Ferrari).

Parmi tous les personnages qui tournent autour de la vie de Pietro, autour de son banc, dans ce petit parc face à l’école de sa fille, finalement ce sont deux femmes, inconnues, qui deviendront les plus importantes. L’une, accompagnée de son chien, sera un peu comme le spectateur, intriguée face à cet homme seul, un peu bizarre et que tout le monde embrasse. (SPOIL L’autre, celle avec qui il aura ce rapport sexuel violent, est, paradoxalement, la femme qu’il aura sauvé d’une noyade au début du film, au moment où son épouse meurt…)

“Un grand film poignant”

Le seul défaut du film serait peut-être sa longueur. Car en plus d’un rythme déjà lent, ce qui n’avantage pas le spectateur, le film est long, un peu moins de deux heures. Un montage plus court, moins dense aurait été apprécié. Mais peut-être qu’ainsi le long-métrage nous paraît plus réaliste. Comme l’ont souligné certains médias, si Moretti avait lui-même mis en scène cette histoire, tiré d’un roman éponyme de Sandro Veronesi, peut-être que Caos Calmo aurait séduit davantage de monde.

Peu importe, il n’en reste pas moins un grand film poignant.

■ À propos de cette critique : Je l’aime beaucoup ! Ce qui est plutôt rare… En effet je trouve qu’elle se lit “bien”, qu’il y a une linéarité claire et agréable, l’ensemble est “fluide”. Tous les éléments sont là : le casting, l’histoire, les bonnes choses, les moins bonnes, la musique, etc. Je n’ai pas parlé de la photographie du film car elle reste très basique. Le texte est sensiblement différent que celui déjà en ligne sur Box(e) movies, quelques modifications mineures, pour plus de clarté. Bref un film coup de cœur qui vous bouleverse pas mal après la projection. Je vous invite à lire la critique de Mathieu Stosse, toujours sur Box(e) movies, qui lui n’a pas aimé du tout, quel homme insensible !

by The Great White Gypsy

Away We Go – Directed by Sam Mendes, Written by Dave Eggers and Vendela Vida
About a couple expecting a child that travels around the country looking for a place to start their family. I’m still reeling from Mendes’s snubbing at the Oscars last year, and this comes out too soon for a shot in 2010, but he’s a great director, and Eggers is one of my favorite authors. The cast looks great, the tone seems heartfelt, and the music already sounds great. I can’t wait for it.
John Krasinski, Maya Rudolph, Catherine O’Hara, Jeff Daniels, Allison Janney, Jim Gaffigan, Maggie Gyllenhaal
June 5

Downloading Nancy – Directed by Johan Renck, Written by Pamela Cuming and Lee Ross
Maria Bello plays a depressed, self-destructive housewife who meets a man in a chat room, and asks him to kill her. Then they fall in love. Then her husband beats the hell out of him. The uncensored preview looks raw and emotional, but it has the potential to be lame. First feature film for both writer and director.
Maria Bello, Rufus Sewell, Jason Patrick, Amy Brenneman
June 5

Tetro – Written and Directed by Francis Ford Coppola
Apparently, this is Coppola’s first original screenplay since 1974’s The Conversation. It involves an Argentinean-Italian family dealing with the past, and brothers dealing with their creative passions. Vincent Gallo isn’t the most reputable actor. Actually, if you’ve never heard of Buffalo 66, then you’ve only seen him for a quick second in Goodfellas. Coppola is a huge name, with a long career. However, this film opened to very negative reviews at Cannes. Haven’t decided yet.
Vincent Gallo
June 11

The Last International Playboy – Directed by Steve Clark, Written by Steve Clark and Thomas Moffett
If you actually recognize Jason Behr, you’re one of six people who ever watched the show Roswell. This time he plays Jack Frost (…subtle), a heartbreaker and womanizer dealing with his mother’s suicide. He learns that the only woman he’s ever really loved is getting married, and his life starts to spiral out of control. He turns to his friends for advice, the most meaningful of which comes from his 11-year-old neighbor. Could be a bullshit chick flick, could be a respectable indie drama.
Jason Behr
June 12

Moon – Directed by Duncan Jones, Written by Duncan Jones and Nathan Parker
Great Sci-Fi films are few and far between. Sunshine was amazing, but most of them suck. Moon looks like a cross between Solaris (the original) and 2001: A Space Odyssey. Sam Rockwell plays an astronaut on the moon doing energy research alone with his talking computer (Kevin Spacey). Then he starts seeing and hearing weird stuff, and thinks he’s losing his mind. Could be like Solaris (the remake) or Mission to Mars, but it could also rival Sunshine. I’m excited.
Sam Rockwell, Kevin Spacey
June 12

The Taking of Pelham 1 2 3 – Directed by Tony Scott, Written by Brian Helgeland
Remake of a 1974 heist movie starring Walter Matthau and Robert Shaw, the new one stars Denzel Washington and John Travolta. Same basic story, a subway car is hijacked, and a civil servant must negotiate the demands. The original was pretty damn good, but Travolta’s character looks like a Wild Hogs/Swordfish hybrid. Tony Scott’s had some low points the last few years (Domino, Spy Game), but his last two teamings with Denzel were Deja Vu and Man on Fire, which were badass.
Denzel Washington, John Travolta, Luis Guzman, John Turturro, James Gandolfini
June 12

$9.99 – Directed by Tatia Rosenthal, Written by Etgar Keret
I know when you see stop motion animation with accents, you automatically think Wallace and Gromit (…or not), but after an overdose of Oscar animated shorts and Bill Plympton, I’m willing to give this one a shot. About a bunch of people living in an apartment complex in Australia searching for the meaning of life. Don’t judge me.
Geoffrey Rush, Anthony LaPaglia, Joel Edgerton, Claudia Karvan
June 19

Transformers: Revenge of the Fallen – Directed by Michael Bay, Written by Ehren Kruger and Roberto Orci
Yes, we all know that Michael Bay is pretty much a joke. But the Transformers kick ass, Megan Fox is really hot, and the first one was really cool. The second one brings back all our favorite Decepticons and Autobots, (even Jazz, the only one to die in the first one…you know, the only one who sounded black?). Hey, it’s summer, time for effects and explosions. It’s Michael Bay season.
Shia LaBeouf, Megan Fox, Josh Duhamel, Tyrese, John Turturro, Hugo Weaving
June 24

The Hurt Locker – Directed by Kathryn Bigelow, Written by Mark Boal
Every time I see Jeremy Renner, I think of S.W.A.T., which isn’t a good thing. However, The Hurt Locker is much more serious. It is about an army bomb squad in Iraq, and the crazy shit they have to deal with every day. This has the potential to be another The Kingdom, meaning it will be really cool, but completely overlooked by the majority of moviegoers. Bigelow directed Point Break, Blue Steel, and K-19: The Widowmaker, so she’s kinda one of the guys. Boal wrote the screenplay for In the Valley of Elah. I just hope it’s not as disappointing as Stop-Loss, but it’s MTV free, so I’m optimistic.
Jeremy Renner, Anthony Mackie, Brian Geraghty, Guy Pearce, Ralph Fiennes, David Morse, Evangeline Lilly
June 26

Life is Hot in Cracktown – Written and Directed by Buddy Giovinazzo
Brandon Routh is a crackhead? Shannyn Sossamon and Lara Flynn Boyle are hoe-bags? Are we sure this isn’t a documentary? Giovinazzo also wrote this novel about several different people living in drug-infested urban areas. Feels like a much grittier version of Crash, but could just be another urban flop. Kerry Washington is hot.
Brandon Routh, Kerry Washington, Shannyn Sossamon, Thomas Ian Nicholas, Lara Flynn Boyle, Illeana Douglas, RZA
June 26

Quiet Chaos – Directed by Antonio Luigi Grimaldi, Written by Nanni Moretti and Sandro Veronesi
Italian film about a man who saves two women from drowning, then returns home to find his wife has died. Lost in his bewildered emotional state, he sits outside his daughter’s school all day every day, interacting with the people in the area. Grimaldi hasn’t done much outside of Italian TV, but Moretti is apparently a big deal as an actor, writer, and director in Italy.
Nanni Moretti, Valeria Golino, Alessandro Gassman
June 26

The Stoning of Soraya M. – Directed by Cyrus Nowrasteh, Written by Betsy Griffin Nowrasteh and Cyrus Nowrasteh
James Caviezel (Passion of the Christ) stars as a man driving through 1986 Iran when his car breaks down. He begins talking with Shohreh Aghdashloo (House of Sand and Fog), who tells him a story about her niece, who was executed on erroneous charges by the community. The story may be small, but the scope strikes me as amazingly broad. Themes of mob mentality, justice, women’s rights, and cultural pressures. Nowrasteh is new to the game, but Aghdashloo’s an Oscar nominee who’s been in everything. Looking forward to it.
James Caviezel, Shohreh Aghdashloo, Mozhan Marno
June 26

Surveillance – Directed by Jennifer Chambers Lynch, Written by Jennifer Chambers Lynch and Kent Harper
Serial Killer flick meets Rashomon in Lynch’s second film, about three eyewitnesses being interviewed by the FBI concerning a series of shootings they all saw, but each account is different. Jennifer appears to be daddy’s little girl already, and David Lynch is executive producing, so be prepared for a serious mind-fuck. I have goose bumps.
Julia Ormond, Bill Pullman, Pell James, Ryan Simpkins, French Stewart
June 26

KEEP YOUR EYES OPEN

Every month I do my research on upcoming projects, and every month the list seems to get longer. With each Coming Soon, however, I must leave out interesting films because either I can’t find a release date, or it’s already out, or the dates are conflicting on different sites. Well from now on, I’m just going to tell you about all these cool movies anyways. Some of them won’t be released in the US until possibly next year, if they ever come to a theater near you at all. Some of them may already be on DVD. Just keep your eyes open.

I Come with the Rain – Written and Directed by Tran Anh Hung
Josh Hartnett gets a bum wrap, but he’s been in some cool movies (Lucky # Slevin, 30 Days of Night, Black Hawk Down). In this one, he’s the token white guy. He plays a cop-turned-P.I. who left the force after killing a serial killer he was fixated with. He travels to Tokyo to find the son of a billionaire, and the lines between reality and fantasy, and good and evil are blurred. Vietnamese writer/director Tran hasn’t done much, and the 5-minute-long promo trailer kind of gives up the whole movie, but it has a lot of potential.
Josh Hartnett, Elias Koteas, Byung-hun Lee
June 6 (Japan)

The Countess – Written and Directed by Julie Delpy
Julie Delpy (actress in The Air I Breathe, Before Sunrise, 2 Days in Paris) tackles her second project as a director with the story of Hungarian Countess Bathory, who thought the key to maintaining her beauty was to bathe in the blood of a young virgin every night (more proof that virginity is harmful to your health). Doesn’t have a US release date yet, but it’s already been to a couple European festivals, so look for it on DVD soon.
Julie Delpy, William Hurt, Daniel Bruhl, Anamaria Marinca
June 25 (Germany)

Fireflies in the Garden – Written and Directed by Dennis Lee
Based on a Robert Frost poem, this is the story of a family dealing with emotional turmoil and internal conflict in the aftermath of a sudden tragedy. The cast alone is worth checking this movie out (when is the last time Julia Roberts and Willem Dafoe were in the same movie?) This has been released in every other freaking country, so I may be really late. Check imdb, or your local Blockbuster.
Ryan Reynolds, Willem Dafoe, Emily Watson, Carrie-Anne Moss, Julia Roberts, Ioan Gruffudd, Hayden Panettiere
May 29 (UK), possible June 26 release in US.

The Private Lives of Pippa Lee – Written and Directed by Rebecca Miller
Robin Wright Penn plays a loving wife and mother who, at age 50, starts to unravel when her much older husband (Alan Arkin) wants to move to a retirement community. She must look into and deal with the wild behavior and harsh realities of her past, and still hold on to her present. Miller wrote Proof, and directed The Ballad of Jack and Rose, and this looks like a slight departure for Arkin as an actor. It could be another The Life Before Her Eyes, or it could be really freaking good. Also, I’m in love with Monica Bellucci. There, I said it.
Robin Wright Penn, Alan Arkin, Keanu Reeves, Julianne Moore, Winona Ryder, Maria Bello, Monica Bellucci, Blake Lively
July 10 (UK)

Pietro Paladini (Nanni Moretti) and Claudia Paladini (Blu Yoshimi)

This Italian hit from 2008 is a difficult film to describe. Calling it an art-house feel-good film is probably the best way to categorise it but such a label really doesn’t do justice to this gently moving and understated film about moving on after tragedy, family and simply being human. Quiet Chaos (Caos calmo) is the perfect title as it embodies the idea of its lead character Pietro Paladini being the calm centre of the storm amid the chaos that is modern life. The film opens with a monumental incident of irony where Pietro’s visit to the beach with his brother is prolonged when they find themselves the only people who are willing and able to save a pair of drowning women. This unthanked for act of unintentional heroism means that Pietro does not get home in time to be with his wife who suddenly dies after collapsing. However instead of raging at the cruelty of his fate, Pietro goes into a strange state of shock, adopting a sad and wise serenity. Becoming more attached to his young daughter than ever Pietro begins to spend his days in the park opposite her primary school waiting for her to finish her school day. Over a number of weeks various neighbouring strangers and worried work colleagues begin to regularly visit Pietro in the park and they increasingly rely on him for advice, sympathy and understanding.

The Italian actor Nanni Moretti (The Son’s Room), who also co-wrote the script, plays Pietro with a sad, kind and friendly sensibility that is impossible to dislike. Pietro does very little in terms of actively helping people but his soft disposition and ability to listen clearly has a major impact on the lives of the people surrounding him. Pietro is almost a low-key, male equivalent of Amelie and while Quiet Chaos doesn’t replicate Amelie’s romantic whimsy it does share its theme about taking time to notice the small parts of everyday life that bring joy.

Aside from a very graphic sex scene, which feels completely out of place in the film, Quiet Chaos maintains a gentle pace and an unsentimental approach. It never revels in misery nor does it become overly mawkish. It contains a very diverse and interesting modern pop soundtrack and a random yet pleasing cameo appearance from one of the world’s most prestigious directors. However, the key to what makes Quiet Chaos such an appealing film is the beautifully developed relationship between Pietro and his daughter. Quiet Chaos completely avoids any contrived conflicts, dramas or angst and simply allows Pietro to be portrayed as a flawed but fundamentally good man who genuinely loves his daughter unconditionally. Pietro is possibly cinema’s greatest father role model since Gregory Peck’s portrayal of Atticus Finch in To Kill a Mockingbird.

© Thomas Caldwell, 2009

Read more reviews at MRQE

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Ringraziamo l’aggiornatissima guida tv di Alice.

La storia vera della scrittrice inglese Anna Lenowens, che, in età vittoriana, divenne istitutrice dei figli del re del Siam.

Rete 4 – Martedì 07 Aprile ore: 21.10

Trailer Anna and the King

Un uomo rimasto vedovo passa le giornate nel giardino della scuola della figlia e diventa il confidente di altre persone morse dal dolore.

Sky Cinema +24 – Martedì 07 Aprile ore: 21.00

Trailer Caos calmo

Bastardi. Paracadutarmi nel bel mezzo della Cambogia, solo, senz’armi né viveri. Mi lascio atterrare planando, leggero come un uccello, in mezzo alla boscaglia. Nascondo il paracadute e mi dirigo verso un centro abitato. Nella strada provinciale vengo quasi investito da un’ Audi 2500 guidata da un architetto spilorcio; l’auto schiva per un pelo anche un nonnino cantastorie che incede claudicando a bordo strada: pazzi cambogiani. Prendo una mulattiera interna, cammino guardingo e nelle capanne adiacenti scorgo l’indocina intenta negli affari quotidiani; odo nitidamente un accento di Saigon: è una donna con delle splendide scarpe fucsia tacco 12 che partorisce con dolore. Pazze vietnamite, senza epidurale. Mi accingo a soccorrerla ma ignoti, forse Thai, mi attaccano alle spalle brandendo una badòla, antica arma birmana in osso di seppia, che mi procura lesioni e abrasioni lacero contuse guaribili in pochi giorni. I guerrieri mi rincorrono per chilometri; scappo, corro, volo, sbuco vicino ad una strada sterrata. Rubo ad un uomo orinante dietro ad un cespuglio la sua Suzuki Balengo. Parto a tutto gas. Merda, i bastardi non mollano, mi tallonano con una Seat Arisa armata di mitragliette perforanti, mentre le mine anticarro fanno scempio del mio incedere. Giornata d’inferno benedettiddio e allora corro corro corro ma poi sbando e mi cappotto. Fuggo a piedi e mi nascondo in uno zuccherificio abbandonato. Entro e mi sovviene all’istante il bel culo di mia sorella. Chiudo gli occhi e mi concentro perché a volte si può prescindere da un bel culo, se serve. Certo che serve. Ecco, ci mancava: l’emozione mi stimola la minzione. Non la tengo. Entro in un wc chimico, la faccio, mi tiro su il tanga leopardato ed esco ma la porta non si riapre. Batto ma non c’è nessuno. Allora chiamo, urlo in francese, anche se io ho fatto aramaico alle medie e il francese non dovrei saperlo. Sfondo la porta ed esco.

Il rumore si allontana, adesso, e penso all’esilio che mi hanno imposto. Forse per le interminabili soste fuori dalla scuola di mia figlia. O magari per aver preso da tergo un’amica consenziente. Pazzi italiani.

La polvere si dirada. La pace si impossessa dell’ambiente circostante. Quiete ovunque adesso. La Cambogia è lontana: ho passato il confine e ora è solo pace, tranquillità, solitudine. E’ tutto irrealmente pacifico, in questo nuovo paese. Il silenzio adesso mi placa l’anima.

Laos Calmo.

Een korte reportage, die de langspeelfilm Caos Calmo bespreekt, gedraaid op het Gentse Filmfestival (2008).

In opdracht van: SKI Gent & Vooruit

Nanni Moretti é um ator, roteirista e diretor italiano, que dentre várias belas obras cinematográficas, fez em 2001 um dos filmes mais contundentes sobre o difícil momento da perda de alguém, o devastador O Quarto do Filho. Moretti é também o protagonista e roteirista deste Caos Calmo (um dos melhores nomes de filme que eu já ouvi), mas não esteve no comando do filme, que ficou a cargo de Antonello Grimaldi… ou não. Caos Calmo não só parece um filme feito por Nanni Moretti como é um filme de Nanni Moretti, um filme que ele já fez. Em 2001. E se chamava O Quarto do Filho.

Certos novos nortes são apontados em Caos Calmo e há muito o que interessa na abordagem dessa dor sentida e não expressada, percebida mas não latente, colocada como uma brisa na praça que é locação máxima do filme, escolha do protagonista para ser só ao redor do mundo, na espera da filha. Ele parece não sofrer, ela também não, e então ele parece sofrer por este não-sofrimento. É uma abordagem um tanto diferente, mas com signos e fatores bastante semelhantes ao Quarto: a morte, o fato de não estar presente no momento e sentir uma certa culpa por fazer outra coisa (por mais altruísta que fosse essa coisa), a catarse do momento que o personagem de Moretti deságua, tudo muito extraído de uma obra anterior, de uma obra maior. Se O Quarto do Filho não existisse, Caos Calmo seria um filme muito mais interessante. Infelizmente não consegui me desapegar como deveria.

Mas toca Rufus, isso é bom!

2/4

Thiago Macêdo Correia

Scenele de sex. Un adevărat mister pentru ochiul liber şi neştiutor. Şi o întrebare încă fără răspuns: sunt sau nu reale?! Isabella Ferrari, una dintre cele mai apreciate actriţe din cinematografia italiană, susţine că nu a mimat şi nu va mima niciodată. Pentru ea, totul este cât se poate de natural.

Controversa a plecat de la filmul „Caos Calmo”, în care personajul interpretat de italianca de 45 de ani şi cel jucat de chipeşul Nani Moretti au făcut dragoste. Isabella abandonează sfiala şi recunoaşte, cu mâna pe inimă, că totul a fost cât se poate de real. „A fost sex pe bune. Eu numai aşa fac. Sunt de părere că, dacă ceva trebuie să pară real, trebuie să fie real. În plus, nu mi-ar fi permis Nani să mă prefac”, a declarat frumoasa blondă, într-un interviu acordat săptămânalului Gioia.

Mai mult, actriţa susţine că scena a fost atât de reală încât „la un moment dat, totul a devenit foarte complicat. Atât de complicat încât nici nu am putut să îmi dau seama când s-a trecut de la film la realitate. Pentru câteva minute, am intrat cât se poate de bine în rol. După, am trecut peste şi am uitat. Aşa e în film. Toate se uită”.

Italianca vorbeşte şi despre cariera ei. Şi despre masca pe care a fost nevoită să o poarte din momentul în care i-a murit tatăl, la început de februarie: „Azi, nu îmi este ruşine de nimic din ceea ce am făcut. Pe platou, toate problemele se uită şi nu sunt eu, Isabella, sunt personajul pe care îl joc. Omul Isabella are probleme, dar actriţa Isabella nu”. Într-adevăr, the show must go on…

Caos calmo è quello che Pietro Paladini ha nel cuore da quando è morta sua moglie Lara. Un giorno d’estate Lara muore all’improvviso, ma lui non è con lei, in quel momento è in mare e sta salvando la vita a un’altra donna, una sconosciuta. Sua figlia Claudia ha dieci anni e frequenta la quinta elementare. Pietro la accompagna il primo giorno di scuola e decide improvvisamente di aspettarla lì fino alla fine delle lezioni. Anche il giorno seguente rimane lì e il giorno dopo ancora. Pietro si rifugia nell’auto ad aspettare che il dolore arrivi. Osserva il mondo dal punto in cui si è accorrono da lui per consolarlo: invece gli raccontano il loro dolore fino ad arrendersi davanti alla sua incomprensibile calma. Ma dopo il caos calmo per Pietro comincia il tempo del risanamento.

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Nanni Moretti es un conocido productor y director del actual cine italiano. Es un tipo peculiar, o eso parece por lo que refleja en la mayoría de sus films, en los que suele interpretar partes de sí mismo. Esta es una de sus principales características, junto a cierta ironía (más italiana que otra cosa) y una dicción clarita que podría llegar a dar cierta rabia (si eres italiano, por lo visto en los foros de por aquí).

Llegué a él en mi aventura transalpina casi por casualidad y no me acuerdo ni cómo; la cuestión es que me hacía gracia el punto freak que aireaba conscientemente en todas sus pelis y la facilidad con que un extranjero como yo podía aprender el idioma gracias a él. Luego me he topado con gente del Belpaese que piensan que es un puto burgués romano que quiere ser freak (en el sentido guayón) pero que no enseña ni crea nada; temáticas cercanas y muy humanas hasta el punto de no decir un carajo, puntos chorras de esa línea freak (en Caro Diario, en su paseo en vespa, dice que le encanta ver los edificios de las ciudades, luego los áticos y tal… cosas del estilo) y mucha autocomplaciencia. Todo eso bañado por su particular banda sonora mezcla éxitos norteamericanos, mezcla éxitos italianos de toda la vida (con alguna nota tropical), y una clara evidencia nacional: es un tipo nacido en Italia. Y, aún a riesgo de repetirme y cansar, los italianos ya se sabe como viven, entre lo operístico y la fachada; cuando decimos que un yankee tiene sus limitaciones a la hora de ser de izquierdas (porque nunca deja de ser yankee), pues lo mismo con lo de ser italiano. Nunca se deja de serlo. Esto me ha hecho preguntarme un sinfín de veces qué miserias topicales nos tienen reservadas para nosotros, los españoles (y si además digo que soy catalán flipa…), pero esto ya es harina de otro costal.

En Aprile (1998) vemos ese rumbo a la izquierda en cuanto a política y a su ‘yo-director’ bastante más desbocado que en Caro Diario, la película con la que abrió, en 1993, una serie de tres películas de marcado carácter autobiográfico (según leo en internet y atando cabos). La tercera es la aclamada La stanza del figlio, ya del 2001, que se alzó con el máximo premio en Cannes y dónde veíamos a un Nanni mucho más pausado y contenido. De ahí a Il Caimano (2006), que no he visto pero que no creo que sorprenda mucho, y Caos Calmo -que se estrenó el año pasado-, en la que actúa solamente (y no dirige), dónde es casi actor al ciento por ciento y nada más.

Diría que es difícil querer ser actor y ser Nanni Moretti al mismo tiempo, pero en sus favorcillos, colaboraciones o faenas por encargo lo suele intentar (con poco éxito, debo indicar).  Una cosa está clara, este Moretti es un tipo entrañable, además de peculiar. No me ha costado mucho aficionarme a sus trabajos, aunque suela dudar sobre si llenan o estén más vacíos que una jodida lata de sopa Campbell vacía (…), me pregunte si en realidad inventa algo o, simplemente, me canse el verlo aparecer en pantalla, esperando a que pase algo (el cine contemplativo no siempre es sinónimo de buen cine…).

Desde la izquierda quisquillosa de sus principios (que por cierto, hoy podría echar un cable a Matteos Garrones, Robertos Savianos y cia.) a un tipo de cine mucho más personal, ecléctico y freaky (por darle cancha a una particular visión del mundo), Nanni Moretti no deja indiferente a nadie, cosa que, hoy en día,

podría llevar a convertirle en un auténtico lujo (en este mundillo).

Se já há um grande filme este ano ele já é Caos Calmo, de, perdão, com Nanni Moretti. Infelizmente com uma passagem bem discreta e vergonhosamente limitada nos cinemas portugueses o filme de Antonio Grimaldi, idealizado e protagonizado por Moretti é, além de uma boa história, uma delícia para olhos e ouvidos. Da banda sonora basta dizer que passa, entre outros, por Radiohead. Já o elenco começa na talentosa Blu di Martino e acaba numa breve aparição de Roman Polanski. Um drama que extrapola a tela e com um dos melhores títulos de sempre. Vale a pena ler a crítica dele aqui.

Curiosidade finalmente saciada e, felizmente, correspondida. O Curioso Caso de Benjamin Button, de David Fincher, é uma pérola e das gordas. Uma reflexão sobre o tempo e sobre a vida filmada com a maior das subtilezas, apesar do desafio de levar à tela as ambiências de todo um século. Com um Brad Pitt em grande forma (salvo seja, uma vez que passa o filme num corpo bastante mais velho do que o dele), uma Cate Blanchett mais bela e talentosa do que nunca e ainda Tilda Swinton que também dá uma perninha na história de F. Scott Fitzgerald sobre o homem que vive a vida de trás para a frente. Com o seu quê de Forrest Gump de Zemeckis e Youth Without Youth de Coppola é uma delícia que faz jus às quase três mas bem merecidas horas no escurinho da sala de cinema.

Non pretendo più di aver ragione
se parlo di vestiti e di carezze
le braccia lungo i fianchi farò cadere
pregare no che non vorrei pregare
pregare no che non vorrei pregare.

Non vergognarsi della propria malinconia
è un compito penoso anzi uno strazio.
L’amore trasparente non so cosa sia
mi sei apparsa in sogno e non mi hai detto niente
mi sei apparsa in sogno e non hai fatto un passo.

Nemmeno un gesto nemmeno lasciamo andare
meglio di chi improvvisa a malincuore
meglio di chi improvvisa senza amare.

Sarà la vita che monta e poi riscende
tutto questo splendore trasparente
luce elettrica che dopo il buio sempre si accende
se abbiamo assolto tutti i sentimenti
dimenticato tutti i fuochi spenti.

Ma sono pazzo del mondo e sono pazzo di te
e sono pazzo del mondo questo è odio e amore
sono pazzo del mondo questo è odio e amore
anche per te.

Sarà il destino che splende e poi riscende
tutto questo rumore che si sente
acqua libera che sempre si spande.

L’amore trasparente non so cosa sia
mi sei apparsa in sogno e non mi hai detto niente
ti ho dormito accanto e mi hai lasciato andare
sarà anche il gioco della vita ma che dolore
sarà anche il gioco della vita ma che dolore

Voici mon top 10 des films que j’ai le plus apprécié et  qui sont sortis en 2008 au cinéma.

1 – The Dark Knight
2 – Cloverfield
3 – Eden Lake/Southland Tales
4 – Ben X
5 – Surveillance/Death Sentence
6 – Afterschool
7 – Les Proies
8 – Wanted
9 – La vie devant ses yeux
10 – The Broken

Et parce que j’aime les belles affiches de cinéma, voici celles de mon top !

Et en « coups de cœur » (d’autres films que j’ai bien aimé).

Iron Man, Les chroniques des morts-vivants, Bons baisers de Bruges, Blindness, Apaloosa, Hellboy II, L’échange, Hunger, Caos Calmo, Le Bon, la Brute et le Cinglé, Eden Log…

J’attends avec impatience en 2009 : The Watchmen et Inglorious Basterds

Et les flops 2008 : Les Ch’tis, Max Payne, Phénomènes, Intraçable, Crimes à Oxford, Jumper…

Je ne réécris pas les petites chroniques, merci de vous référer à cette page pour les lire.

J’ai vu 98 films différents au cinéma cette année, c’est la première fois que j’en vois autant, merci la carte illimitée !

Caos Calmo
Antonello Grimaldi :: Italy :: 2008 :: 1h55

Pietro’s life takes a cruel turn when his wife Lara dies in an accident in their holiday home. Pietro returns to Rome with his 10 year old daughter Claudia, lost in the void of Lara’s absence. When he brings his daughter to school, he decides to wait outside till she comes back out again. Sitting on the bench under the trees mourning, his work, his family, his emotions, all pass him by.

The movie is not only very original in its set-up, following Pietro as he passes his time in front of his daughter’s school, it is also beautifully made. Filled with subtle details: most of Pietro’s life shows up on that little square. He takes on new priorities in his life (like a little game he plays with a passing child), meets new people and sets himself back into the saddle. Pietro’s development from his confused and shocked state of his wife’s death to coming to terms with being a widower with daughter comes through a re-think of his entire life up to that point. Not in the sense that his life needs remodelling, but rather to be able to look at it up close.

Professionally, Pietro is surrounded by the management of the a big Italian cinema channel. The company is in the middle of a discussion of whether or not to merge with an American group. This discussion rages on passionately around him, but he does not really defend or lobby for his opinion on the matter. Working life just continues, with his secretary or his colleagues passing by on the little square to sort things out which can not do without his input, or just to get something off their backs. There are several remarkable ideas at play here. Firstly, the idea that cinema as just another product to be sold is far removed from a vision of cinema as a one of the pillars of Italian culture. Losing control of their own cinema barely seems to touch the executives because they deplore the current situation. Of course this becomes bitter-sweet, when you realise you are watching an excellent Italian movie and not a popcorn supplement. Secondly, Pietro is an important man and his absence from the office does not seem to have much effect on his career or the functioning of the organisation. Everybody can be missed for a while, the organisation just solves most issues organically to fill up the void.

Caos Calmo shows a quiet stream flowing, with Pietro standing at the side watching. As he stares into the stream, focusses his eyes, slowly but surely he can see the undercurrents. The movie is not a particularly joyful one, but it is filmed realistically and most importantly, it is very funny. The humour removes the weight of the sadness, making the exercise a pleasure to watch. Highly recommended.

www.bacfilms.com/site/caos