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Congratulations to Nanni Moretti: 68 years of “Morettian” sensitivity

It is becoming an exquisitely Morettian tradition to take an old black and white photo from when he was a child and place it over his nose and mouth, leaving his eyes uncovered, in a selfie shared on Instagram. It happened on August 19, 2020 and, once again, the August 19, 2021, day on which Nanni Moretti celebrates his 68th birthday preparing to return to the cinema in September with Three floors, his latest film as a director premiered at the Cannes Film Festival and “returned home empty-handed”, as some Italian newspapers have titled which, instead of concentrating on the company, preferred to scoff at the effort, almost impossible given the presence of a jury president like Spike Lee, to bring the Palme d’Or back to Italy 19 years later Son’s room.

Although he gave us films that perfectly convey his vision of life and the world, it still seems that Nanni Moretti remains a mystery to unravel. On Instagram, a medium that Nanni Moretti first studied, then chewed and, finally, made his own as if he had done nothing else all his life, he gave us little goodies like the video in which he and the protagonists of Three floors, from Margherita Buy to Elena Lietti, from Denise Tantucci to Alba Rohrwacher, they sing Money by Mahmood pretending to prepare for the premiere at the Croisette and the post, also highly criticized, in which Moretti says that turning gray is the least that can happen when a film wins Cannes, Titanium, in which the protagonist becomes pregnant with a Cadillac. Irony is mistaken for gnawing, the screams in the newspapers speak of a Moretti who does not accept defeat, ignoring that this will be the material on which Moretti will reason in the future to build something of his own.

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Self-sufficient, elusive, melancholy at the right point, Moretti has created an unmistakable style that, from his past masterpieces to the freshest ones, has always made a difference through the details, whether they were the supplì that Margherita Buy ordered in the rotisserie for her mother hospitalized or the arbitration of a match between cardinals waiting to recover the neo-pope disappeared. Moretti has always played on this balance, both as a director and as an actor: his “calm chaos” unravels like this, from the urge to make a difference to the biting irony of the world around him, and that is why we are so fond of him. Besides Three floors, we will soon see him in the role of the psychoanalyst of Marco Carrera The Hummingbird by Francesca Archibugi, and we are already certain that she will find a way to render Carradori in a way that Sandro Veronesi would never have imagined.


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