• 2 months ago
(Adnkronos) - Dopo Giulio Andreotti e Silvio Berlusconi, Paolo Sorrentino non tornerà a raccontare al cinema i politici italiani: “Non ci sono più, e non solo in Italia, figure carismatiche di destra o di sinistra. Da un punto di vista cinematografico non mi riguardano più”.  Così il regista premio Oscar all’Adnkronos, in occasione della presentazione a Roma del suo nuovo film ‘Parthenope’, dal 24 ottobre nelle sale con PiperFilm. Dopo ‘È stata la mano di Dio’ e l’ultima pellicola "non ho urgenza di fare altri film su Napoli. Cos’altro mi piacerebbe raccontare non lo so, mi auguro di scoprirlo presto”. Il film racconta il lungo viaggio della vita di Parthenope, dal 1950, quando nasce, fino a oggi. Un’epica del femminile senza eroismi, ma abitata dalla passione inesorabile per la libertà, per Napoli e gli imprevedibili volti dell’amore. I veri, gli inutili e quelli indicibili, che ti condannano al dolore. E poi ti fanno ricominciare. La perfetta estate di Capri, da ragazzi, avvolta nella spensieratezza. E l’agguato della fine. Le giovinezze hanno questo in comune: la brevità. E poi tutti gli altri, i napoletani, vissuti, osservati, amati, uomini e donne, disillusi e vitali, le loro derive malinconiche, le ironie tragiche, gli occhi un po’ avviliti, le impazienze, la perdita della speranza di poter ridere ancora una volta per un uomo distinto che inciampa e cade in una via del centro. Sa essere lunghissima la vita, memorabile o ordinaria. Lo scorrere del tempo regala tutto il repertorio di sentimenti. E lì in fondo, vicina e lontana, questa città indefinibile, Napoli, che ammalia, incanta, urla, ride e poi sa farti male. (di Lucrezia Leombruni)

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00:00You, in the film, associate the freedom of the protagonist with loneliness.
00:06So I ask you if today free women are alone because this freedom still struggles to be accepted?
00:14Yes, it's not really a mathematical equation, but I have a feeling that the search,
00:20in short, the request for the sacred freedom of women is something that in an obtuse way
00:29frightens men, that is, it frightens men in an obtuse way, or some.
00:35And this, sometimes, not always, fortunately, because there are also more enlightened men,
00:41can compromise the beauty and the disinvolvement of how relationships between people should be.
00:51And so it can be an antichamber of loneliness.
00:55Could you, in a certain sense, define Martena as a feminist manifesto?
01:00Well, I don't have these claims, to make a feminist manifesto.
01:05It's a little thought that I coined and that I put in the film.
01:10What is your relationship with time that passes, with the body that changes?
01:14The body, in short, let's say, I love my body.
01:20My signs, of course, suffer a bit of gravity because they are also big.
01:27So, in short, I've relaxed, etc. But I love them very much.
01:34The anguish for the time that passes is yours, we have also seen it in the great beauty.
01:38The beauty, in part, does not pass through a female character.
01:41Do you feel closer to women?
01:44Me? If I feel closer, in many ways, yes.
01:49I often see many more points in common with women than with men.
01:54So I feel closer.
01:57Sometimes I feel that I can speak better with women.
02:03Some of their desires, concerns, disappointments, also belong to me.
02:13I wonder if you will make films about politics again.
02:18I don't think so.
02:19That of today, whether right-wing or left-wing, would you tell it?
02:23I don't think so, because it's not that I've made films about politics.
02:28I've made films about politicians who, regardless of how you think about it,
02:34regardless of their defects or their merits, were figures who had to do with charisma.
02:40A charisma also dictated by the fact that politics was something else,
02:45that they were also traitors, party systems.
02:49Now politics has changed profoundly.
02:52The idea of ​​charisma has changed a lot, it no longer responds to me.
02:57So I don't see the need to tell a politician, but not just an Italian,
03:02and not just right-wing or left-wing, it doesn't matter.
03:05It's the change of the figure of the politician that no longer concerns me
03:12from a cinematographic point of view.
03:14As a citizen, of course, I must continue to remember.
03:18I'd like to ask you if you're going to close a cycle on Naples,
03:23your vision on Naples, and what other film would you like to investigate?
03:31I certainly don't need to make other films about Naples.
03:35I think two are enough.
03:39In addition to Naples, the city has also been told in detail by other directors and writers.
03:44So the spaces to set foot are a bit finished for me.
03:52What else would I like to tell?
03:54It's something I hope to find out along the way.
03:57Now I don't know, now I'm focused on this film
04:01and I'm focused on the winter lethargy that awaits me.
04:08From the first film to today, has your observation of the world around you changed?
04:15What is the biggest change you've noticed?
04:19No, my approach is always the same.
04:22To keep alive and feed a great curiosity for human beings
04:27and for their weaknesses that have always interested me.
04:33No, I haven't changed my approach.

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