From Casa Szoke, la wonderful villa composed and disheveled deputy of a place to die, protagonist together with Tilda Swinton and Julienne Moore of The room next doorthe Golden Lion winning film, to the incredible monumental scenography it reflects the epic of an architect immigrated after the war in The Brutalist by Brady Corbet. From the almost theatrical aesthetic of Queerthe new and courageous film by Luca Guadagnino, based on the semi-autobiographical novel by William S. Burroughs, set in Mexico City after the Second World War, at unmistakable gothic and surreal style Of Beetlejuice Beetlejuice on Tim Burton.
To finally arrive at Milan of the pastthat of the railing houses, the dance halls and the bowling alleys, the stations and the former steelworks of Paola Randi’s small and precious film, The story of Frank and Nina.
To be protagonists of the 81st Venice Film Festival are geometries, refined interiors full of symbolismdark and grotesque sets, environments that become mirrors of the psyche and industrial archaeologies to be rediscovered.
The room next door
In The next room, the new film by Pedro Almodovarwinner of the Golden Lion at the 81st Venice Film Festival, follows the protagonist, the magnetic Tilda Swinton, among the wonderful pop up spacesslightly patinated and brightly colored, of a steel villa outside the city. She is seen wandering not only in the spaces where she cooks, sleeps or sunbathes, but where she breathes her last breath of life. The question is universal: where is the best place to die?
Although the Spanish director’s new story is set in New York, the film was shot for most of its scenes in Spain. It’s at the center Szoke Houseto San Lorenzo de El Escorial near Madriddesigned by the studio Aranguren + Gallegos.
Theater of the great friendship told in the film linked to freedom of choice, the main subject of the scenography is also a metaphor for the film: a series of geometric volumes full of windows that blend in with the surrounding nature. A place for the soul.
The Brutalist
Brady Corbet’s film, winner of the Silver Lion for best director at the 81st Venice Film Festival, has a monumental scenography. The story is that of László Tóth, a Hungarian architect who emigrates to post-war Americawhose work and experiences reflect a conflict between architectural ideals and innovations.
Filmed in Budapest and Carrara, the film makes majestic spaces and imposing architecture the central theme to tell the story of post-war hardship and reconstruction. The production design, by Judy Becker, was praised for having brought the brutalist aesthetic alivesymbol of exile and ambition.
Beetlejuice Beetlejuice
Con gothic and dark atmospheresunmistakable trademark, Tim Burton creates the new highly anticipated sequel to Beetlejuice which received hordes of crazy fans and endless minutes of applause at the 81st Venice Film Festival.
The film, which has scenes set in the world of the dead, recalls the German expressionism of Cabinet of Doctor Caligari and is enriched with architectural details that nostalgically evoke the cult original from 1988.
Among the protagonists of this horror comedy, in addition to Michael Keaton, Winona Ryder and Catherine O’Hara, also Jenna Ortega, Monica Bellucci, Willem Dafoe, Justin Theroux and Arthur Conti.
Queer
Luca Guadagnino participated in the Venice Film Festival with Queer, one of the most intimate and personal films of his career. The Oscar-nominated director has chosen Stefano Biasi for the film’s scenography.
Set in post-World War II Mexico City, the film recalls the twilights of Magritte and Edward Hopper, and the dreamlike contours of Paolo Ventura. Based on the novel by William S. Burroughs, one of the fathers of the Beat Generation, Queer reflects the alienation of the protagonist through theatrical scenarioslike clubs, Mexican streets and an Amazonian and shamanic jungle where an incredible Daniel Craig he gets lost and finds himself, twists and doubles lost among his obsessions.
The Story of Frank and Nina
A fairy tale about the Milan of the past, that of Jannacci and Gaber, Strehler and Dario Fo. Between suburbs, stations and steelworks, industrial archeology and terrain vague, The story of Frank and Nina touches the hearts of the Milanese, through the urban hubs of the city.
“In this film, Milan is to be discovered, it is the one hidden in the courtyards and in the less visible spaces. It is like its fog, which veils and reveals. I was interested in opening a window, an opening and telling the stories of three invisible people. Opening a world and letting the rest listen says the Milanese director Paola Randi.
The filming took place in symbolic places of the Milanese capital such as the former Falk steelworks, the Porta Garibaldi and Centrale stations, the Polytechnic, QT8 and San Siro, Sesto San Giovanni, but also the Balera dell’Ortica, which reveals the most poetic and authentic soul of the citya beating heart of workers, migrants, and boys and girls who try, with difficulty, to find their space in the world.
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Source: living.corriere.it
