The sun of the future review movie of Nanni Moretti with Nanni Moretti, Margherita Buy, Silvio Orlando, Barbora Bobulova, Mathieu Amalric, Valentina Romani, Jerzy Stuhr, Zsolt Anger And Teco Celio
Is a film more noticeable if it is released in 500 theaters in 190 countries or if it is not treated with the right care? The original reference quote is self-evident, but The sun of the future takes a clear and questionable position in a paradoxical moment for the film industry: the unit of measurement does not count, only the way in which a film is delivered to the public matters. Long live, therefore, cinema understood as a place rather than platforms urbi et orbi. Nanni Moretti wants movies to be seen in the conventional way like Silvio Orlandoin the role of an editor-in-chief of Unità, who does not want to deviate from the line of the communist party with respect to the tragic invasion of Hungary by Russia in 1956. In a nutshell, the plot of the film John/Nanni is filming in a moment of enormous difficulty on several fronts and of which it is the lightning rod and breeding ground.
The crises of man, of industry, of society are transformed into a confederation of tumultuous souls gathered under the banner of a film which is a manifesto and a full stop “towards a bright future“. To pursue it, one must necessarily look to the past and unhinge the dogmas settled by the passage of time. And this Nanni Moretti he does it with an ancient but renewed verve, supported by a wit and a lucidity that taste of awareness of a season on the avenue of sunset without having clear ideas about the aftermath. At different points in the film the story layers come together in music, as if someone were intoning their very own Auld Lang Syne to enjoy all the time spent together.
Do you really think old friends should be forgotten and never remembered?
Do you really think old friends should be forgotten, and the days gone by?
(A verse from the traditional Scottish song Auld Lang Syne)
There is a reasonable probability that it is for this reason that the Hungarian circus arrives in the Roman suburbs Budavari. It is the chariot of Moretism that takes the stage once again but is attacked by doubt and remorse. It refreshes the people of Quarticciolo and the audience in the hall, but is everything really so perfect? His children – summed up in the performance of Valentina Romani – do not feel the value of tradition and ritual and travel along roads that long ago would have seemed closed to traffic by marrying elderly Polish diplomats. Politics doesn’t match popular sentiment, a bit like cinema is asymmetrical with respect to streaming. It seems that the last scene must necessarily be that of the noose around the neck.
The revolution wrought by this film is instead a revisionism dictated by the acceptance of change. As Robert Herlitzka escapes in the night from his captivity in Good morning, nightas Margot Robbie survives the sect of Charles Manson in Once upon a time in HollywoodLike this Silvio Orlando promotes a protest in via delle Botteghe Oscure that changes the course of the left in Italy at least second The sun of the future. You can change a little, without necessarily losing your integrity. All you need to do is maintain stylistic coherence and the desire to be yourself, always putting yourself on the grill and continuing to dream of endless films full of Italian songs while another one is being filmed.