LThe wait is now over: comes to the race 80th Venice Film Festival Ferrari by Michael Mann, filmed in Italy. But it happens on a day of fierce competition: yesand must see with Dogman by Luc Besson and with El Conde by Pablo Larrain. out of competition, the French TV series Of silver and blood.
Michael Mann’s Ferraris
The director – who made the film from the novel by Brock Yates Enzo Ferrari: The Man and the Machine – wanted for the lead role Adam Driverfor that of his wife Laura Penélope Cruz. Shailene Woodley plays Lina Lardi, Patrick Dempsey will be Piero Taruffi, Jack O’Connell Peter Collins. Sarah Gadon will play the role of Linda Christian e Gabriel Leone those of Fon De Portago.
Adam Driver in “Ferrari”.
Adam Driver in crisis
The cut chosen by Mann is not triumphalistic, on the contrary. The heart of the story is the four months of 1957, a moment of crisis for Ferrari, with the company in difficulty and the wedding on the rocks after the death of his son Dino and the discovery of the existence of Piero, had from an extramarital affair. For redemption (or removal), the “Drake” focuses on the Mille Miglia…
The director tells
“Long before shooting,” said Mann, former director of Heat And The Last of the Mohicans «I had the opportunity to walk through the rooms of Ferrari’s house, see his diaries, learn about his habits, marveling at the wallpaper in the bedroom where Laura spent the last years of her life and most importantly interacting with her son Piero, from whom I learned and absorbed so much. I have tried to revive Enzo’s passions and charm, his biting wit, the devastating loss of his firstborn, the theatrical outbursts, the need for an emotional refuge, the tragedy, the monumental bet on a single race and the struggle for survival”.
The Dogman by Luc Besson
«Wherever there is an unhappy person, God sends a dog»: this is the phrase by Alphonse de Lamartine that gives the mood to Dogman by Luc Besson, the story of a child, marked by life, who will find salvation through the love of his dogs. “The inspiration came, in part, from an article I read about a French family who locked their son in a cage when he was five,” recalls the director. «This story made me wonder about the impact that such an experience can have on a person on a psychological level. How does a person manage to survive and manage their suffering? Society won’t help you, but love can help heal. Dogman it wouldn’t be the film it is without Caleb Landry Jones. This complex character needed someone who could embody the challenges, the sadness, the desire, the strength, the complexity».
Caleb Landry Jones in “Dogman” (photo Shana Besson).
El Conde of Larraín
With El Conde Pablo Larrain returns to his Chile after the well-deserving Tony Manero, Postmortem And No – Rainbow Days and after the international digressions on Jackie Onassis (Jackie) and Lady Dian (Spencer) but does it with a surreal horror. Augusto Pinochet did not die in 2006, but hid in a ruined building, very isolated in the south of the country. He’s 250 years old, because he’s not a man, he’s a vampire… What to expect? For your final judgement, appointment on Netflix from 15 September.
French TV series
Xavier Giannoli directed a luxury cast (Vincent Lindon, Niels Schneider, Ramzy Bedia, Judith Chemla, David Ayala, Olga Kurylenko) to bring to the screen (tv) Of silver and blood – from the homonymous book by Fabrice Arfi: story of the mega-scam of 2009, billions gone ash in the market of “carbon emission quotas”, invented to fight pollution.
«I wanted to combine the thriller genre with a study of morals, an environmental investigation and a spiritual journey. A fresco that includes various social classes, from the upper classes to cheap scoundrels, from Wall Street to the casinos of Manila» explains the director. «A fascinating energy flows between the pieces of this puzzle. Decadence and gambling are great film materials, but I wanted to cast a shadow over them: an obsessive detective searching for the truth. The camera moves between the aesthetic fascination of evil and the interest in fighting for society. I wanted to portray the state of the world and its contradictions, avoiding voyeuristic complicity or moral simplification».
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