George Cukor’s films exalt the presence of the set, making the sets spaces where actors and the camera can move freely, but without losing that realistic information that anchors the dreams to the people in the cinema. In modern cinema, the set is abandoned or is declared as such. Curiously, Porumboiu’s film, as much as Hogg’s, refers to the presence of the set, the ultimate filmic space. In the first case, it is the fixed framing and a story that deals with cinema (and, as in many of Cukor’s films, nods to this world made of oblique thoughts), while Exhibition develops the story around the oxymoron of a house-artwork that is at the same time a living space, a house that exhibits itself as the exterior side of a couple’s intimacy.
The Wedding Director
I Promessi Sposi (the book hated by generations of Italian high school students) and amateur filmmaking, opera arias and baroque Sicily. The sea and a beach (made of rocks and sand but which to some could recall another eccentric film, La carne). Sergio Castellitto observes this universe that reflects the contradictions of his country with a lunar gaze. It is up to him to trigger the sliver of fiction that connects and gives meaning to the fragments of reality gathered and reproduced to a degree zero by the film. A director who falls in love with his characters to the point that he enters the frame: This idea contains the most beautiful image of the relationship that ties Castellitto to cinema.Carlo Chatrian