On the Montée de Marches of the Cannes Film Festival Nanni Moretti he arrived, if not with the Palme d’Or in his pocket, at least with the satisfaction of being able to present his film to the world after two years of forced stop. He recorded a video with the cast in which he sang Money of Mahmood, attended the Croisette with the inevitable bow tie and collected, at the premiere of Three floors, that we will see at the cinema from 23 September, a 13-minute long applause. Although critics, especially French, were divided on his work, considered by some to be the least “Morettian” of all, the hope that the film, or at least Moretti, would bring home some prizes we all had and, instead, it was not so.
The controversial one won the Palme d’Or Titanium by Julia Ducournau, the second woman to get to the top of the podium after Jane Campion, leaving Three floors empty hands. Someone described the days immediately following the award ceremony as particularly difficult for Moretti, who would not have undertaken to mask his disappointment at not having entered the palmarès. At that point, however, using the social networks that he now masters as a skilled influencer, Moretti decided to break the silence by publishing a photo with white hair and wide eyes and a wonderful caption: «Getting old all of a sudden. 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”.
It is through the weapon of irony, in fact, that Moretti plays and exorcizes discontent, dismantling the critics who continued to insist strongly on his defeat. Three floors, his first film based on a non-original subject, namely the novel of the same name by Eshkol Nevo, perhaps it has not been understood enough: it is a story about the extreme consequences of human nature and psychological balance, but also about good and evil that lurk in us and that, often, as Valmont said in the Dangerous relationships, they are beyond our control. Palme d’Or or not, it will be the public who will get a better idea of his latest work, six years after his beautiful one My mother with Margherita Buy and John Turturro.
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