Director:
Paolo SorrentinoGuión:
Paolo SorrentinoCámara:
Daria D'AntonioMúsica:
Lele MarchitelliReparto:
Celeste Dalla Porta, Gary Oldman, Stefania Sandrelli, Luisa Ranieri, Dario Aita, Silvio Orlando, Isabella Ferrari, Peppe Lanzetta, Nello Mascia (más)Sinopsis(1)
The long journey of Parthenope’s life, from her birth in 1950 till today. A feminine epic, devoid of heroism but brimming with an inexorable passion for freedom, Naples, and the faces of love—all those true, pointless, and unspeakable loves. The perfect Capri summer, the lightheartedness of youth. Which ends in ambush. And then all the others—the Neapolitans, men and women, observed and loved, disillusioned and vital, their waves of melancholy, their tragic ironies and dejected glances. Life, be it ordinary or memorable, knows how to be very long. The passing of time offers up a vast repertoire of emotions. And there in the background, so close and so very far, is Naples, this ineffable city that bewitches, enchants, screams, laughs, and always knows how to hurt you. (Cannes Film Festival)
(más)Reseñas (3)
Como algunas películas de Sorrentino realmente amo, aquí el nativo napolitano está completamente agotado y se ha ciclado y ha dado a luz una pura manía visual, no innovadora, arrugada y completamente vacía. Todo gira casi exclusivamente en torno a la apariencia física de la joven heroína (o su actriz), pero la admiración por la belleza de los cuerpos de las mujeres aquí también parece vieja y babosa. Los diálogos pretenden ser profundamente filosóficos, sin embargo, la película se hunde en tonterías teatrales ("la belleza de la mujer es como la guerra, abre puertas") y en motivos melodramáticos emocionalmente vacíos. El campeonato mundial en la filmación de escenas vacías con un valor narrativo equivalente a un comercial de dos horas para un perfume de lujo.
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La poesía visual de Sorrentino que rinde homenaje a Nápoles y la belleza femenina (cómo no). En el primer tercio, una exposición hermosa de personajes, entre los que destaca no solo por su actuación, sino también por su carácter, el escritor Gary Oldman. Más tarde, cada vez más fragmentos emocionales cuyo contexto y significado en la trama se me escapan. Lo que hace que disminuya la emoción por la forma en que se presentan. ¿Qué demonios significa ese personaje de "la bella y la bestia", un sacerdote feo digiteando a Parthenope en una iglesia?? **1/2 [Cannes FF]
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Paolo Sorrentino's new film, released at Cannes, is a heady poem paying tribute to youth and human (female) beauty (how else), and I have to admit that I was completely drawn in and enchanted by the first half. I haven't seen such visually captivating, perfected shots in a long time. I liked the character of Parthenope, because she is aware of her beauty, but I didn't think she was taking advantage of it, on the contrary, she knows her worth very well, she is not only beautiful, but also smart and ambitious. But unfortunately the enthusiasm gradually waned in the second half, because the main character stopped acting logically. I didn't quite sympathize with her actions and some of the events. I stopped seeing any sense or point to it. So, in the end, it turns out that the whole film is actually based on the beauty of the lead actress and the masterful visuals, but unfortunately that's not enough. [Festival de Cannes 2024]
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Galería (4)
Foto © Pathé Films
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