pare che è uscito ieri sto film

pare che è uscito ieri sto film

Antologia sui problemi della società moderna attraverso la lente di quattro stili registici diversi. 
Tra i nomi ben noti, mi ha colpito piacevolmente Gregoretti (regista che non conoscevo, ben lontano dalla popolarità degli altri tre) che attraverso un’aspra satira sociale ha confezionato una perfetta rappresentazione del consumismo moderno, veramente bravo.

Antologia sui problemi della società moderna attraverso la lente di quattro stili registici diversi. 
Tra i nomi ben noti, mi ha colpito piacevolmente Gregoretti (regista che non conoscevo, ben lontano dalla popolarità degli altri tre) che attraverso un’aspra satira sociale ha confezionato una perfetta rappresentazione del consumismo moderno, veramente bravo.

Hace mucho no miraba cine de esta generación, se sintió como volver a casa. Los cortos de Godard y Pasolini, 5 estrellas. El de Rosellini no me pareció tan terrible como leí decir a muchos, no sentí que alentara al protagonista masculino, todo lo contrario. Coincido con La Ricotta siendo el más destacado y bello de los cuatro, mi primer Pasolini (Sacrilegio, lo sé. ¡Trabajando en ello!) Pero no puedo negar mi debilidad por Il Nuovo Mondo: Esos cortes, los planos pecho con mirada a cámara, extras tomando pastillas al fondo de escenas aleatorias y cobrando protagonismo conforme al avance de la trama... Te extrañé, Jean-Luc.

Hace mucho no miraba cine de esta generación, se sintió como volver a casa. Los cortos de Godard y Pasolini, 5 estrellas. El de Rosellini no me pareció tan terrible como leí decir a muchos, no sentí que alentara al protagonista masculino, todo lo contrario. Coincido con La Ricotta siendo el más destacado y bello de los cuatro, mi primer Pasolini (Sacrilegio, lo sé. ¡Trabajando en ello!) Pero no puedo negar mi debilidad por Il Nuovo Mondo: Esos cortes, los planos pecho con mirada a cámara, extras tomando pastillas al fondo de escenas aleatorias y cobrando protagonismo conforme al avance de la trama... Te extrañé, Jean-Luc.

Rossellini: 6/10Godard: 7/10Pasolini: 8/10Gregoretti: 4/10

Rossellini: 6/10Godard: 7/10Pasolini: 8/10Gregoretti: 4/10

These four half-hour shorts, all somehow (very loosely) connected to the idea of dangers of modernism, are way too varied in quality to cohere. This was a project that it seems the four directors didn't really confer on much, and as such the varied effort and quality levels were a bit jarring.

1) Rossellini, “Chastity” - God, air travel was just so different back then. Such massive space and comfort. But incels have always been with us, haven’t they. (This was the worst segment of the four. Rossellini seems to have pulled a half-baked subplot out of his junk drawer here.)

2) Godard, “The New World” - A nuclear weapon goes off over Paris, and the only one to notice is this one guy, whose girlfriend suddenly speaks in riddles, everyone else in the city is sick, and the tops of the buildings have all disappeared in the fog. Yet another in a long line of Godard films about how he's the only sane one, and even his (always amazingly hot) girlfriend doesn't understand him.

3) Pasolini, “La Ricotta” - Pasolini’s piece begins with a segment in full technicolor depicting the filming of the crucifixion in a small town (directed by Orson Welles, imperious as ever), and following two dark, smoky B&W segments, it’s jarring. But this is the only segment that shows any joy whatsoever, even as the starving actor at the center of the story comes to a gruesome (if appropriately silly) end.

4) Gregoretti, “Free Range Chicken” - The last piece involves a family of four constantly tempted by modern consumerism, intercut with a market guru delivering a dry, soulless address (through a laryngectomy throat mic) about maximizing consumer trends.

The eventual fever break of the parents, while walking through an overpriced future construction site, is a good note to end this set on, and I guess it brackets the Rossellini opener well enough, with its slavish corporate message. But while Gregoretti’s piece is comparatively well paced and developed, Pasolini’s piece is the only section I suspect I’ll take with me.

- Criterion Challenge 2025

These four half-hour shorts, all somehow (very loosely) connected to the idea of dangers of modernism, are way too varied in quality to cohere. This was a project that it seems the four directors didn't really confer on much, and as such the varied effort and quality levels were a bit jarring.

1) Rossellini, “Chastity” - God, air travel was just so different back then. Such massive space and comfort. But incels have always been with us, haven’t they. (This was the worst segment of the four. Rossellini seems to have pulled a half-baked subplot out of his junk drawer here.)

2) Godard, “The New World” - A nuclear weapon goes off over Paris, and the only one to notice is this one guy, whose girlfriend suddenly speaks in riddles, everyone else in the city is sick, and the tops of the buildings have all disappeared in the fog. Yet another in a long line of Godard films about how he's the only sane one, and even his (always amazingly hot) girlfriend doesn't understand him.

3) Pasolini, “La Ricotta” - Pasolini’s piece begins with a segment in full technicolor depicting the filming of the crucifixion in a small town (directed by Orson Welles, imperious as ever), and following two dark, smoky B&W segments, it’s jarring. But this is the only segment that shows any joy whatsoever, even as the starving actor at the center of the story comes to a gruesome (if appropriately silly) end.

4) Gregoretti, “Free Range Chicken” - The last piece involves a family of four constantly tempted by modern consumerism, intercut with a market guru delivering a dry, soulless address (through a laryngectomy throat mic) about maximizing consumer trends.

The eventual fever break of the parents, while walking through an overpriced future construction site, is a good note to end this set on, and I guess it brackets the Rossellini opener well enough, with its slavish corporate message. But while Gregoretti’s piece is comparatively well paced and developed, Pasolini’s piece is the only section I suspect I’ll take with me.

- Criterion Challenge 2025