After recounting an enormous private loss with unclear implications in the touching documentary Marx Can Wait, Bellocchio turns his gaze towards the most important and mysterious national loss, the Moro case in this enormous work born as a television series , but arrived at the cinema in two splendid acts.
Thus was born Esterno notte a work built like a pincer. With the first and last chapters reconstructing the story we all know by meticulously recounting the kidnapping and discovery of the body. In between four tranches de vie that delve into the lives and positions of Cossiga (the State) Paul VI (the Church) Adriana Faranda (the Red Brigades) and his wife Nora (the family).
I am precisely these parts, more creative and imaginative, to capture. Bellocchio alternates sensational dialogues between the protagonists (how can we forget Paul VI's phone call to his priest advisor or that of Nora Moro to the wife of a dead policeman in the escort?) with impactful dreamlike inserts. He creates a dark and claustrophobic atmosphere that leads us character after character towards the inevitable in a tightening spiral. The transfiguration of the character into a new Jesus Christ sacrificed on the altar of the homeland is reiterated several times since the choice of posters.
The cast is led by Gifuni in a truly remarkable subtraction performance. Margherita Buy inspired like few other times during the last films in the role of his wife she reaches her highest acting levels. However, the entire technical cast shines, starting with a photography based on cold and alienating colors that acts in synergy with Bellocchio's surgical direction. A thrilling technical mix.
A monumental work by one of the great senators of Italian cinema, Esterno notte is a film not to be missed, excellent in both form and content. Those looking for carefree and entertaining hours should refrain from it, but for everyone else it is not to be missed even if the commitment required by viewing it is considerable also in terms of time. Be brave and don't miss it
Thus was born Esterno notte a work built like a pincer. With the first and last chapters reconstructing the story we all know by meticulously recounting the kidnapping and discovery of the body. In between four tranches de vie that delve into the lives and positions of Cossiga (the State) Paul VI (the Church) Adriana Faranda (the Red Brigades) and his wife Nora (the family).
I am precisely these parts, more creative and imaginative, to capture. Bellocchio alternates sensational dialogues between the protagonists (how can we forget Paul VI's phone call to his priest advisor or that of Nora Moro to the wife of a dead policeman in the escort?) with impactful dreamlike inserts. He creates a dark and claustrophobic atmosphere that leads us character after character towards the inevitable in a tightening spiral. The transfiguration of the character into a new Jesus Christ sacrificed on the altar of the homeland is reiterated several times since the choice of posters.
The cast is led by Gifuni in a truly remarkable subtraction performance. Margherita Buy inspired like few other times during the last films in the role of his wife she reaches her highest acting levels. However, the entire technical cast shines, starting with a photography based on cold and alienating colors that acts in synergy with Bellocchio's surgical direction. A thrilling technical mix.
A monumental work by one of the great senators of Italian cinema, Esterno notte is a film not to be missed, excellent in both form and content. Those looking for carefree and entertaining hours should refrain from it, but for everyone else it is not to be missed even if the commitment required by viewing it is considerable also in terms of time. Be brave and don't miss it
