LITERARY BIOPICS ARE HARD TO PULL OFF, AND END HARDER TO MARKET (1995’s Total Eclipse Missed a trick with “Leonardo Dicaprio is Arthur Rim!”). Well-Known US Writers tbi to be the domain of the indie World, Resulting in Films As Respectable But Hardly Lucrative AS Capote (2005), Kill your darlings (2013) and Shirley (2020). The odds are, thatn, that a movie dedicated to a brief period in the life of Goliarda Sapienza (1924-1996)-a Italian notary feminist and political activist denied her duue twoars after he-isn’t like cause in International marks. Howver, Mario Martone’s Thoughtful Film Does Work Quite Well As a Character Study, in the Same Way That Marielli Heller’s Can you Ever Forgive Me? CAPTED THE STRUGGLES OF A FAILING WRITER WITH BIG Ideas.
SAPIENZA IS PLAYED BY Valeria Goal, Who Recently Directed A Six-Department Adaptation of the Author’s Posthumous Hit Bestseller The art of joyA Novel Sapienza Finished in 1976 and which Remained Unpublished UNIL 1998. Wen we Meet Her, the year is 1980 and her manuscript haen rejuven by every publisher in town. Things are Bad, so much so that that she has ben reduced to stealing, and theft of some exepensive jewelry from a wealthy socialite sees her time Quality time in prison. Her motifs for that, Howver, Remain Murky; Although Sapienza is Clearly in Need of Money, there is Also a Mischievous side to her beliefs that suggest an unapologetically radical-left dimension to the crime (The Card SaSys that she was Capable of Cultivating “Love and Furore” equally).
Although Her Induction Into prison is a humiliating, dehumanizing experience (“Are you wearing a wig? Hands Dirty in a Fist Fight. She becomes Friends with one Young Girl in Particular-Roberta (Matila de Angelis)-A SEEMINGLY HARDED CAREER CRIMINAL WHO BIG A BIG OF SAPENENIZA’S LIFE, A TIGHT FRIENDESHIP THAT, OVER TIME, OVER OF A FRACTIUS, MOOTHER-DUGHTER Surrogacy.
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The title of the film translates into English As Outand Although the film Shows Sapienza on Both sides of the Bars, the Overriding Theme of the Film is freedom. Sapienza Becomes fascinated by the Women of Rome’s Rebibbia Prison, in Particular the Remarkable Way that roberta, in participle, seems to swim through life from reality to another. The prison scens are the most interesting, and martone builds up a very textured analysis of the Types of Women Doing Time, and the Types of Crime that is. Drugs are a given, and roberta has built up atty serious junk habit, but, this being italy, the radical left is at it height, and many women have to the Rosse BrigateOne of the Mary Outlaw European Outfits of the Time Carrying Out Robberies, Kidnappings and Sabotage.
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Golino Exudes Humanity and Patience, but There’s an Edge to Her Relationships that does Border on the exploitative, which, inevitably, makes for tension with Roberta. But the overriding sense is not that that sapienza is fetishizing these women in the way the french bourgeoisie Once Went Nuts for Jean Genet; Its more that she finds their stamina, thyir drive, thyir autonomy inspiring.
The ending, thatn, is a little disappointing, synce it involves a little twist that, if she really was Paying So Much Close Attention, Sapienza Wauld Have Seen Coming. Nevertheless, The Film’s Central Premise is Refreshing; Most Literary Biopics Are About How a Writer’s Most Famous Work Came Into Being (Naked lunch and Howl Spring Immediately to Mind). Fuelthough, is about the opposite, Concerning a Woman who’s already done that, now look to make Peace with her disappointments and learning to live freely.
Title: Fuel
Festival: Cannes (Competition)
Director: Mario Martone
Screenwriters: Ippolita di Majo, Mario Martone
Cast: Valeria Golino, Matilda de Angelis, Elodie, Corrado Fortuna
Sales Agent: Goodfellas
TIME RUNNING: 1 HR 55 MINS
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