Ever since he realized that social media could be a functional medium for his idea of art, Nanni Moretti has decided to exploit them to the fullest of their potential, creating content capable of capturing attention while maintaining their apparent simplicity, from a phone call recorded in the Sacher foyer to the last video clip posted the evening before the news that Three floors, his latest film, will compete in competition at the Cannes Film Festival 2021. To do this, Moretti did not share the teaser or a clip extracted from the film, but chose to create an ad hoc content in which the female cast of the film, that is Alba Rohrwacher, Gea Dall’Orto, Elena Lietti, Margherita Buy, Denise Tantucci, and he himself prepare for the big event in front of the mirror by humming Money di Mahmood.
The video, a small masterpiece of elegance and irony, which sees the actresses spread their makeup on their faces, comb their hair back, spray their perfume and, in the case of Margherita Buy, try on the elegant dress in an atelier. is the umpteenth gimmick of a Moretti who has understood that to reach the public he needs to contaminate himself with the most explosive pop. The fact that, at the minute and forty-five, he himself appears standing in front of his closet singing Mahmood and clapping his hands in time is the confirmation of this impression. The last scene, which sees Moretti adjusting his bow tie, metaphorically preparing for the premiere of Three floors, which will arrive at the cinema on 23 September next, in Cannes, is only a way to express the joy of sharing with the public a film that, between a pandemic and a variant, has remained at the checkpoint for almost two years.
On the other hand, music, in the works of Nanni Moretti, has always played a central role. Let’s think about that sequence de Son’s room in which he sings in the car I’m not there with you more by Caterina Caselli; or the one in which, in the pool, with the cap over his head, he intones And I come to look for you by Franco Battiato in Palombella red; or, again, the one in which he sings She of Adam at the end of Here Bombo. May Mahmood also enter his repertoire (a song that, by the way, arrived first in Sanremo and second in the Eurovision Song Contest in 2019) it’s obvious. All that remains is to understand if it will find a place, as well as on Instagram, even in his latest film. We hope a little.
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