Rai Cinema, original screens from Scorsese to Garrone

From Scorsese to Michael Mann via Polanski. From Garrone to Costanzo, from De Angelis to Wright. And then comedy veterans Siani and Pieraccioni, directors Rohrvacher and Ramazzotti, great storytellers and showmen who interpret them: “It’s a dazzling list,” says Rai Cinema Managing Director Paolo Del Brocco, speaking at Giornate. Ciné of Riccione are the titles of films that will be distributed 01 next season before the autumn recovery.

Two long-awaited American blockbusters seeded: Flower Moon Killers Martin Scorsese with De Niro and DiCaprio tackling the mysterious murders of Osage Aboriginal people in an Oklahoma oil well, already acclaimed at Cannes and in our theaters next October; and Michael Mann’s Ferrari with Adam Driver, Patrick Dempsey and Penélope Cruz, a biopic about Drake of Maranello that revolutionized the automotive industry, not just in Italy. Then Roman Polanski’s The Palace with an impressive cast (Fanny Ardant, John Cleese, Joaquim de Almeida, Mickey Rourke, Luca Barbareschi, also a producer, and Fortunato Cerlino) and a plot set in a mysterious VIP hotel at night . New Year’s Eve, “shot by a ninety-year-old gentleman, which gives us a really powerful Italian-made film with a budget of over twenty million.” Still on the international stage, the divine Helen Mirren promises surprises as Golda Meir in Guy Nattiv’s self-titled film about Israel’s first female prime minister with Ed Stoppard and Camilla Kottin, while Keanu Reeves returns with Ana de Armas. in Ballerina by Len Wiseman.

The Italians promise sparks with two films that can compete in Venice: “Io Capitan” by Matteo Garrone and “Finally l’alba” Xavier Costanzo. “The first is a little-told, but in the original language, story about a journey that two boys undertake from Dakar, though they don’t have to migrate, in search of adventure that will take them to a new, more challenging world,” explains Del Brocco. “The second is a big-budget work with an international cast that takes us back to the great Italian cinema of the 1950s, to Fellini, a film we believe in very much and will be released at Christmas.” With Lily James, Joe Keery, Willem Dafoe: the director defined this story as a “fairy tale” with a Hitchcockian atmosphere in Cinecitta more than half a century ago against the backdrop of the Montesi affair. Edoardo de Angelis could also have arrived in the Lido with Garrone and Costanzo with the Comandante, where Pierfrancesco Favino played Salvatore Todaro, the heroic Regia Marina officer who sank a Belgian arms merchant ship during World War II. submarines of enemies, but rescuing the entire crew, according to the code of honor of the fleet. “A man with many contradictions, but with a great sense of humanity, an important story,” continues Del Brocco.

The catalog also has a strict and reserved author, such as George Wrights with “Lubo” (“a very European film” anticipates the CEO) and “Diabolik chi sei?”, the third chapter of the Manetti saga about the king of terror, played by Giacomo Gianniotti, which will finally shed light on the reasons that prompted him to be a criminal. What about comedy? This will be taken care of by Alessandro Siani with “It Happens Even in the Best Families”, cast by the same actor-director with Cristiana Capotondi, Dino Abbrescia, Antonio Catania and Anna Galiena; Leonardo Pieraccioni with “It looks like Paris (with Chiara Franchini and Nino Frassica next to him); and Alessandro Pondi with The Dangerous Comedy and the Brignano-Pession couple.

Nearly thirty years after “Ferie d’Agosto” Paolo Virzi returns to the same morality tale atmosphere with The Other Mid-August with Sabrina Ferilli, Silvio Orlando, Christian De Sica and Laura Morante. Michaela Ramazzotti made her directorial debut with Happiness, arriving in theaters after a good reception at Cannes for Chimaera by Alice Rohrwacher. Sixteen titles and more to come, Del Brocco notes with satisfaction. But there are concerns that platforms today are choosing to create original stories directly rather than acquire films: “There is something of an economic backbone in the cinema chain that is starting to fail. And that can become a problem because a certain kind of work is thus in danger of disappearing due to lack of visibility.”

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