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Atomic Blonde

Piazza Grande

Atomic Blonde

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The movies of today are dominated by comics. Once it would have been wonderful, but now it is starting to become quite boring, unless it goes beyond superhero stories. Soon we’ll see on the screen the death of Stalin, drawn from the funny graphic novel by Fabien Nury. And in the Piazza Grande arrives Charlize Theron, in love with the graphic novel by Anthony Johnston The Coldest City. Atomic Blonde is the perfect vehicle to transform the Oscar winning actress into a badass action heroine, also thanks to David Leitch, former stunt coordinator turned into director with the magnificent John Wick and not by chance already working on the Deadpool sequel. Leitch gives back to the big screen the necessary freedom fundamental in the art of comics wich is missing in today’s CineComics. Lorraine Broughton is an anarchic sexy badass, the blood of her wounds seems more real than the blood of any avenger, just like the fake Berlin of 1989 seems real, where these ghosts from the Cold War lurk. Atomic Blonde is a spectacular entertainment (there’s an outstanding ten minute long take of Charlize breaking bones) and also a nostalgic memory of a period that seems far away and when everything was clearer. Communism and capitalism divided by ideological as well as actual walls. Today, at most, firewalls are taken down to elect presidents. It is much better to listen to the sound of breaking bones and watching bodies clinging in hot embraces, hosed down with vodka and flavoured with drugs, which bewilder the double and even triple cross necessary to any spy story. For years it has been said that James Bond could become a woman and Theron would have been interested. But men talk, whereas women act. Welcome Lorraine. See you soon.

Alessandro De Simone

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