Highlights 6 | 8 | 2017
Italian cinema has long drawn strength from a kind of uninterrupted dialogue between centre and periphery, between productions integrated into the system and others that come from the margins, between actors that embody the spirit of the capital and others who carry the scent of the sea or the mountains. Amori che non sanno stare al mondo and Surbiles renew this dialectic.
Then there is another Italy that finds renewal thanks to impetus from abroad, like the Italy of Ibi, the extraordinary protagonist of Segre’s film, or the Italy that with Gaglianone and Nze (Granma) picks up and moves to Nigeria to shoot an unusual road movie.
Some refresh a genre, but others, like George Romero, start one. His zombies have become not just a trademark but also a prism through which to interpret and criticize America. A few weeks after his death, his friend and admirer Dario Argento remembers him.
Relying on solid performances, Goliath and Charleston investigate male identity and how to find oneself in the absence of reference points. Not by chance, whether in the guise of drama or comedy, the two films describe paths adrift, with finales that after various obstacles see a turn towards more promising curves.
The couple and the community: from South Korea and New York come two different ways of seeing social life. The characters of Cho-haeng (The First Lap) are in an absolute and difficult relationship, while Person to Person widens the gaze and places couples’ relationships within a freer human context.