Prosatore’s feature film debut was first presented at the Locarno Film Festival and then at Alice in the City (scoring, among other things, the Wanda docuseries on Netflix) and is a coming-of-age story that plays with the fairy tale and flips stereotypes, not flattering on a vintage setting. eighties.
Anna puts on her makeup and stares at us. He asks “How am I?” Then he moves what we thought was the camera, or the cellphone he used to photograph himself, but instead it is a mirror. The mirror, the mirror of my desires, “You are so beautiful,” Anna replies to herself.
The notes of the classical piano sonata are transcribed into those of the “self-control”While Anna, a “princess,” looks out into the courtyard of her castle, an isolated block of flats on the northern outskirts of Naples inhabited by a handful of families is about to be demolished. works formiddle axis. Boys playing soccer, conjuring Maradona Adults dream of their first scudetto for their favorite team, they become adults: there are those who move around, those who make a living, and those who take care of Anna: her mother, who dreams of a better future for herself, far from that world that deserves his girl daughter who deserves more.
Looks like a fairy tale very quietly. In its own way, it is. This world is isolated and suspended but very real. A secret castle, full of beauty and intrigue, with an access point (covered with Topless poster of Samantha Fox) to a more secret world, to a kind of natural Eden where there is some kind of apple forbidden for Anna. Mariolu is hiding there, put there by the chief Lilo ArenaSmall salty head and a few words.
Anna is infatuated with Mariolo, because, in a more healthy and safe way, through her counterpart Peppino, while her mother desires to protect her and ends up alienating her, the other boys – and above all girls – hate her for it. Involuntary arrogance.
It sounds like a fairy tale, but it’s a coming-of-age story, a Nicola Prosatore movie, which tracks the tracks of looks and desires with a moving and smooth camera. Those of Anna, first of all, of course, but also of those around her, who love her, want her, want to protect her. Anna is running, she is in a hurry to run and grow, but the adult world can be ugly, dirty and mean.
But let’s forget the usual, classic, stereotypical discourse about Neapolitans, the Camorra, criminals and street children. Slowly he abstracts, fantasizes and projects. his is Hyper-realism is sometimes dreamlike, the world he tells us is made up of tangible and real feelings, actions, and personalities, yet observed as in a fishbowl, to record their behaviors and actions. Especially feedback.
Dream and reality are always intertwined, The prose writer is a pawn, an outline, a dare. Using the camera, with editing, on the strength of the script (which he writes and starts from childhood memories of V Antonia TroppoAnna’s mother) that it is legal and perhaps right to infidelity with photos.
There is all the passion, restlessness, and curiosity of adolescence in the story, in the words, and in the imagery of the piano. There is also an often bitter awareness of adulthood. There is responsibility. The desire to act, protect, dare and teach. Anna has her mother, she’ll discover another unexpected mentor along the way, and she’ll learn to love those who deserve and deserve her.
As the music plays, Ana slowly touches each other, Maradona scores, Samantha Fox and her bare breasts become an improbable threshold, and the story ends, or perhaps not, with a hopeful and imperfect happily ever after.
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