“Il sol dell’avvenire”, in Cannes is the day of the exciting film by Nanni Moretti
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Italian cinema is still the protagonist at the Cannes Film Festival: after the powerful “Kidnapped” by Marco Bellocchio, it’s the turn of “Il sol dell’avvenire” by Nanni Moretti, one of the absolute darlings of the kermesse.
Greeted by lots of applause upon arrival in theaters for the screening of his new film, Moretti hopes to enter a palmarès which has often seen him triumph in the past: in 1994 he obtained the award for best director with “Dear Diary”, while in 2001 the Palme d’Or was awarded for “The Son’s Room”.
As has already happened several times, before the presentation on the Croisette Moretti has already brought his film to Italian cinemas. defined as a Michele Apicella (his alter ego in many previous works) now aged: the protagonist of the film is a director who is less and less in tune with the world around him. While he is working on a film set in 1956, with the story of the secretary of a section of the PCI who has to figure out how to react to the sending of Soviet tanks to Budapest, but doesn’t realize that his wife has been thinking about leaving him for some time now. Between digs at Netflix and a series of profoundly meta-cinematic sequences, “The sun of the future” is a film that thinks about the power of the seventh art, creating a sort of game of Chinese boxes in this sense: the protagonist is also writing a film based on “The Swimmer” by John Cheever, but at the same time at the same time imagine shooting a film that tells the story of a couple, with lots of Italian songs in the background.
Self-quotations and the passage of time
There is truly all of Moretti’s cinema in this work which, not surprisingly, ends with a wonderful sequence that stages many of the main faces who have crossed his filmography. The themes dear to the director are all there: from politics to the couple relationship, passing through psychotherapy and work on the sets. Mixing drama and comedy, melancholy and irony, Moretti inserts many self-quotations in his film that will only make his many international fans happy: in this reflection on the flow of the time, also rich in Fellinian references, one feels all the passion with which its author wrote and conceived it, also making use of a strong cast that includes, among others, Silvio Orlando, Margherita Buy, Barbora Bobulova and the French Mathieu Amalric.
The passion of Dodin Bouffant
In competition, “La passion de Dodin Bouffant” by Tran Anh Hung, director born in Vietnam and naturalized French, found a place. Set in France in the 19th century, the film tells the story of Eugénie and the renowned chef Dodin Bouffant. Bouffant’s kitchen is of the highest level, his dishes are considered among the tastiest and most refined in the country: the collaboration with Eugénie has been fundamental in all these years to build the excellence that everyone recognizes him, but a feeling could also be hidden between the two which never quite exploded. The man proposed to her several times, but without great success. Adapted from the novel “La vie et la passion de Dodin-Bouffant, gourmet” by Marcel Rouf, this film soon turns out to be a rather indigestible meatloaf, full of ingredients that they never manage to arouse great emotions. Excessively conventional and full of predictable passages, it is a film that could have been left out of the main Cannes competition without hesitation, also because Tran Anh Hung’s talent is seen very little. The staging has a discreet elegance (this can also be seen in the long initial culinary preparation), but it is not enough to hide the limits of a product that risks being forgotten very quickly.
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