The controversial post of the director for the non-consideration at Cannes of his “Three floors”
Do I notice more whether it is rosy or not? Who would have thought that Nanni Moretti would also become social – words are important, but unfortunately there is no equivalent in Italian. On Instagram – which she now frequents not with the compulsiveness of any Chiara Ferragni, but where she gives irony, see the clapping on the notes of Money by Mahmood – the director has published a close-up image of him: the eye stares at the virtual interlocutors, the signs of life are not hidden by filters (it is not yet Belén …), the air is quite hallucinatory, and in fact he is not all wrong. The caption accompanying the image explains his state of mind: «Getting old suddenly. It happens. Especially if one of your films participates in a Festival. And it doesn’t win. And instead another film wins, in which the protagonist gets pregnant with a Cadillac. You age suddenly. Sure”.”.
Dream interpretation becomes thought interpretation: the director does not seem to have taken very well the absence of his Three floors from the palmarès of the Cannes Festival, where the jury chaired by Monsieur Le Gaffe, or a Spike Lee totally out of the bubble, awarded the Palme d’Or Titanium by the French Julia Ducournau, a film where it is not clear whether it is stranger that a woman can have sex with a car or get pregnant after having done it (without precautions?) Sure the victory of Titanium surprised many, first the critics who had crushed it, some saying it was a “trash test”, some writing that it was a “meaningless” film. And the sense had much more Three floors by Moretti, even if outside the Moretti codes we were used to: this is a Moretti crepuscular, which does not discount a humanity that closes itself in its own obsessions and intransigences, artificer and at the same time victim of his own mental stakes, a humanity that, like dogs, bites its own tail and also ends up finding it good. Little adds to the finale at the time of the milonga, as if to give hope, remnants of lightheartedness that are drops in the sea of loneliness, because the film leaves on a suit of gloom and pessimism that the viewer cannot help but wear.
Get used to a Nanni Moretti cynical and disenchanted, but who knew how to snatch smiles with his subtle irony, the fulminating joke, here the director touches other chords, he paints a desperate humanity, without salvation, with no way out. «The film – explained Moretti – like the book by Eshkol Nevo from which it is based, tells the stories of three families who live in the same building. Face up universal themes such as guilt, the consequences of our choices, justice, the responsibility of being parents. The characters, fragile and frightened, are moved by fears and obsessions, and often end up taking extreme actions … Little is said about what we will leave to our children in ethical and moral terms. Every gesture that we make even in the intimacy of our homes has consequences that will affect future generations“. And a milonga is not enough to solve everything.
July 21, 2021 (change July 21, 2021 | 18:03)
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