meeting with Nanni Moretti


Boris Sollazzo




17 NOVEMBER 2023, 9.30 PM

Free entrance. Online reservation required.

The meeting with free admission is open to a maximum of 140 participants.

In order to participate, you must make a reservation no later than 23:59 UTC+1 on 16/11/2023


There is a wonderful scene, among many, by Nanni Moretti that we should think about, every time we savour his greatness as a director, author, intellectual. Palombella rossa, one of his masterpieces. On TV is Doctor Zhivago. The protagonist, in the middle of the game, comes out of the pool (he is a water polo player). There is the scene, poignant, in which he sees her, bangs on the glass of the tram, goes out to chase her. And Michele Apicella screams, hoping to change the fate of a great classic, because cinema is a crazy love, which makes you feel stories, characters, feelings. And in that scene, however, there is also mass politics that goes away, that gathers in front of a small screen, that vents with Doctor Zhivago (a favourite, moreover, of Fidel Castro and Maradona, but that’s another story). And there are so many other tributaries of thought, emotional, that make that moment of cinema magical, unrepeatable. Nanni Moretti is not only a master of cinema, as the award he will receive at Linea d’Ombra states, but he is, like only Pirandello, Elsa Morante, and Pasolini, an intellectual who knew how to understand, foresee, and fight his time, building part of what we are. And how. We look back on his films after years, as on certain phrases that later became idioms. He knew how to enter the collective imagination while remaining a rigorous author and without ever flattering the public. He accomplished a revolution with Ecce Bombo, he understood before others the return to the self, he anticipated the end of a political and historical era and the abdication of a Pope. He has never stopped challenging himself, think of works such as Santiago, Italia and Tre Piani. Nanni Moretti is a splendid septuagenarian, because he has not only shouted the right things. But he has also written, filmed and interpreted them.

Nanni Moretti

Nanni Moretti was born, only by chance, in Brunico in Val Pusteria in 1953, but has always lived and worked mostly in Rome as director, screenwriter, actor, producer and exhibitor. His passion for cinema, which he cultivated at the beginning with a small group of friends, began very early, in 1973, with a distinctive mark that would accompany him throughout his career. With Io sono un autarchico (I Am an Autarchist), which was in competition at the Forum of the Berlin Film Festival (1976), he began to make a name for himself nationally and internationally: the work had the flavour of an existential reflux, as Enrico Magrelli defined it, but it won over audiences, especially young audiences, and burst onto a film scene still dominated, for a short time, by his father’s cinema, with which Moretti would enter into a conflict that was by no means subterranean. Two years later it was the turn of Ecce Bombo (1978), which was selected in Competition at the Cannes Film Festival and marked the love of the French for his cinema. Venice would award him in 1981 (special prize from the jury chaired by Italo Calvino and with Manuel De Oliveira and Peter Bogdanovich among its members) for Sogni d’Oro (Golden Dreams), almost as the closure of a coherent triptych of investigation into a time and a generation in conflict with the world and with itself. An enigmatic film in terms of plot and development, Bianca (1984) highlights the contrast between the adult world’s loss of meaning (I am thinking of the ridiculous Marilyn Monroe school) and the protagonist’s continual subtraction of self. Elements that seem to return in La messa è finita (1985, Silver Bear at the Berlin Film Festival), the film that closes the accounts with a generation that sees its faith in the time to come vanishing. In Palombella Rossa, the director portrays the dissolution of an old order of ideas, recounting a condition of loss of identity that is even more investigated in that indispensable little film that is La cosa (1990), a journey among PCI militants in search of a name and a place, never quite found. Moretti in Caro diario and Aprile decides (1993 and 1998 respectively) to abandon the alter ego to tell through himself the passage of the shadow line, which leads him to adulthood. In Il caimano (2006), Moretti comes to terms with a media-political universe dominated by the figure of Silvio Berlusconi, just as in Habemus Papam (2011), a film that is in some ways prophetic (Benedict XVI will abandon the tiara in 2013), the director reflects on the sense of inadequacy and fragility of even a pope, suspending the action within the Vatican walls filled with play as a veiled infantile regression. Mia madre (My Mother, 2015) is a painful film for many reasons, because it speaks of a loss that makes us lonely for real and the impossibility of offering a unified narrative of the world, “I don’t understand anything anymore” thinks the director Margherita/Margherita Buy to herself. Tre piani (2021), a political film centred on the disappearance of the polis and the need to return to the perhaps narrow space of the family, is preceded by the documentary Santiago, Italia (2019), which recounts the coup d’état in Chile by interweaving the escape of hundreds of political dissidents inside the Italian Embassy in Santiago Del Cile. Their stories remind us of a welcoming and supportive country that, unfortunately, no longer seems to be there. Which takes nothing away from the possibility that Moretti gives us to rewrite history and make sense of the past in order to rethink the future again under the sign of the Sol dell’Avvenire (2023).



SALERNO 09_16 November 2024