Franco Cicero Zodiac
The opposition of Saturn, as you know anyone involved in astrology, is fraught with omens negative. In fact, the narrative leap in the new film by Ferzan Ozpetek is linked to a sudden death. As was the film that, six years ago, opened to the director of Turkish ports to the general public: "The Ignorant Fairies."
But this time the sudden death strikes a central character, which touches introduce the story with his voiceover. Also, unlike almost all movies Ozpetek (from "Hamam - The turkish bath" and "Harem suaré" to "Facing Windows" and "Sacred Heart"), there is a female figure above that discovers new ancient truth or reality. Instead
in "Saturno contro" significantly outweigh the chorus of the whole and the present. The tragedy unpredictable flows into the pain a community of dear friends. But the elaboration of mourning for those who came early to miss goes beyond the repetition of the Italian "Big Chill". Rather, it is the exaltation of a bond of friendship which collectively strengthens even if the relationship between the single individuals (eg, a wife discovers that her husband cheats on her) can be broken.
Ozpetek, quarantottenne, for thirty years in Italy, now in its sixth film in a decade, his camera moves with absolute mastery and obvious pleasure between the dynamics of the group of friends in Rome today that coexist quite naturally women and men , straight and gay, singles and married couples, and young ultraquarantenni. And his signature is highlighted copyright in precise sequences, like the meeting between the wife and husband with her lover, or the final game of ping pong that echoes the court of "Blow Up" by Antonioni. Again, the merits of formal care is loyal Gianfilippo Corticelli Patrizio Marone photography and editor. While the contribution is unknown Music "Neffa" (John Pellino).
The screenplay, written - as is tradition - along with the same Ozpetek Gianni Romoli (that is, as usual, the producer of the film with Tilde Corsi) is very topical, perhaps beyond the same intentions original: you can see easily, in fact, I say, or references to zealous' treatment. Sign, however, not a commercial cunning, but a testament to how certain issues are present in everyday life.
The really nice thing, however, the film is proof of all the performers.
Ozpetek confirmed to be a sensitive director of actors, very precise in drawing their personality and offer of dialogue very believable. In addition, this time turns out to be a skilled picker a cast which are made coexist perfectly actors from television, like Ambrosia (the most surprising, in a difficult role), Luca Argentero (now reliable and robust in that "at home"), Michael Thomas (the real potential) and Lunetta Savino that leaves its mark in some of "color" with the inevitable Serra Yilmaz ("free range" fellow director) and extraction stage with performers such as the emergence Diberti expert Luigi Filippo Timi, up to those celebrated cinematic experience, as Stefano Accorsi and Margherita Buy (renewed and convincing, though called upon to play roles already experienced), Pierfrancesco Favino (in the clear), Ennio Fantastichini (with sensitive intelligence), the happily recovered Isabella Ferrari and sore, very effective, Milena Vukotic.
All praise to join a collective.
But this time the sudden death strikes a central character, which touches introduce the story with his voiceover. Also, unlike almost all movies Ozpetek (from "Hamam - The turkish bath" and "Harem suaré" to "Facing Windows" and "Sacred Heart"), there is a female figure above that discovers new ancient truth or reality. Instead
in "Saturno contro" significantly outweigh the chorus of the whole and the present. The tragedy unpredictable flows into the pain a community of dear friends. But the elaboration of mourning for those who came early to miss goes beyond the repetition of the Italian "Big Chill". Rather, it is the exaltation of a bond of friendship which collectively strengthens even if the relationship between the single individuals (eg, a wife discovers that her husband cheats on her) can be broken.
Ozpetek, quarantottenne, for thirty years in Italy, now in its sixth film in a decade, his camera moves with absolute mastery and obvious pleasure between the dynamics of the group of friends in Rome today that coexist quite naturally women and men , straight and gay, singles and married couples, and young ultraquarantenni. And his signature is highlighted copyright in precise sequences, like the meeting between the wife and husband with her lover, or the final game of ping pong that echoes the court of "Blow Up" by Antonioni. Again, the merits of formal care is loyal Gianfilippo Corticelli Patrizio Marone photography and editor. While the contribution is unknown Music "Neffa" (John Pellino).
The screenplay, written - as is tradition - along with the same Ozpetek Gianni Romoli (that is, as usual, the producer of the film with Tilde Corsi) is very topical, perhaps beyond the same intentions original: you can see easily, in fact, I say, or references to zealous' treatment. Sign, however, not a commercial cunning, but a testament to how certain issues are present in everyday life.
The really nice thing, however, the film is proof of all the performers.
Ozpetek confirmed to be a sensitive director of actors, very precise in drawing their personality and offer of dialogue very believable. In addition, this time turns out to be a skilled picker a cast which are made coexist perfectly actors from television, like Ambrosia (the most surprising, in a difficult role), Luca Argentero (now reliable and robust in that "at home"), Michael Thomas (the real potential) and Lunetta Savino that leaves its mark in some of "color" with the inevitable Serra Yilmaz ("free range" fellow director) and extraction stage with performers such as the emergence Diberti expert Luigi Filippo Timi, up to those celebrated cinematic experience, as Stefano Accorsi and Margherita Buy (renewed and convincing, though called upon to play roles already experienced), Pierfrancesco Favino (in the clear), Ennio Fantastichini (with sensitive intelligence), the happily recovered Isabella Ferrari and sore, very effective, Milena Vukotic.
All praise to join a collective.
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