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Anni
felici (2013)
(บรรยายอังกฤษ) |
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Director:Daniele
Luchetti Screenplay by:
Daniele
Luchetti, Sandro Petraglia, Stefano Rulli, Caterina
Venturini Music by:Franco
Piersanti
Cinematography:Claudio
Collepiccolo
Edited by:Mirco
Garrone
Running time:106
min Country:Italy Language:Italian
Genre:Drama,
Romance
Subtitle:English Starring:
Kim Rossi
Stuart as Guido, Micaela Ramazzotti as Serena,
Martina Gedeck as Helke, Samuel Garofalo as Dario,
Niccolò Calvagna as Paolo,
Benedetta Buccellato as Nonna Marcella,
Pia Engleberth as Nonna Marina, Angelique Cavallari as Michelle
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Those Happy Years (Italian: Anni felici) is a 2013 Italian drama film directed
by Daniele Luchetti. It was screened in the Special Presentation section at the
2013 Toronto International Film Festival.
A narcissistic artist finds his self-satisfied world turned upside down in the
wake of a disastrous exhibition and his previously devoted wife''s extra-marital
inclinations.
Those Happy Years
Reviewed by: Anne-Katrin Titze
Fragmented family memories come alive in the Roman sun and at the Mediterranean
coast of Camargue. Opening this year''s Open Roads: New Italian Cinema, organized
by The Film Society of Lincoln Center in New York, in partnership with Istituto
Luce-Cinecittà, is Daniele Luchetti''s autobiographical reckoning Those Happy
Years (Anni felici).
Recalling a turning point in his childhood, the film glistens with the best kind
of nostalgia in the details and expands into wider socio-political threads.
Summer of 1974. A hut by the beach selling blow-up swim animals and bright
plastic sand shovels is so vivid that you can smell the ocean and taste the
dunes in the wind.
Kim Rossi Stuart plays Guido, an artist who feels undervalued and misunderstood.
He makes plaster pieces with naked women, lectures at the academy about Yves
Klein and Vito Acconci and teaches his two young boys how to appreciate art by
holding up two postcards and letting them decide which one is better. In his
opinion, they mostly get it wrong with their inherently conservative childhood
taste, as do most of the critics who find Guido''s work contrived. To be shocking
and provocative means everything to him. The scene with the postcards is
touching and funny and full of a love that can only be appreciated in
retrospect.
Serena (Micaela Ramazotti), Guido''s wife and mother of the two boys struggles
with his unfaithfulness, her place in his world and the world in general. When
her husband''s art dealer, gallery owner Elke (an excellent Martina Gedeck, the
female lead from Florian Henckel von Donnersmarck''s Oscar winner for Best
Foreign Film The Lives of Others), invites her and the children to go on
vacation to France at a kind of feminist resort, power dynamics start to shift.
Serena''s family, described as "merchants", who gather traditionally at their
summer house, represent a controlled nest about to disappear. Little Dario
(Samuel Garofalo), the filmmaker''s alter ego, is given a Super-8 camera by his
grandma. He will use it on vacation with his mother and brother in Camargue,
filming wild horses, wild French girls and the shifts of unexpected summer
happiness which include his own performance of Snow White.
Guido himself has a performance piece at the Milan Art Palace and is torn apart
by the critics. Wanting to be disturbing at any price, he has created work that
moves nobody and becomes free-floating. Luchetti does a wonderful job sailing
around the cliffs and he doesn''t allow Guido to sink because humiliation of the
artist as a young father is clearly not why he made this film.
"We''d lost our innocence - or better we found it," sums up the experience of
mother and son in France that summer. Dario''s holiday footage is so good that
Kodak want to use it for their TV commercial. "You started selling yourself
young," judges the boy''s paternal grandmother (Pia Engleberth). In one of the
film''s strongest scenes, Guido explodes and sets his mother straight. He defends
his son''s accomplishment and we see in an instant where much of his anger
originates.
They watch a cartoon show (Osvaldo Cavandoli''s La Linea) on TV. The main
character and his surroundings are drawn as one continuous line. Those Happy
Years has a lot in common with the fragility and strength of this concept.
When absence can inspire art the future looks bright.
หนังตัวอย่าง:
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รางวัล:5
wins & 20 nominations.
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Bastia Italian Film Festival 2014
BIFEST - Bari International Film Festival 2014
David di Donatello Awards 2014
Golden Ciak Awards 2014
Golden Globes, Italy 2014
Ischia Global Film & Music Festival 2014
Italian National Syndicate of Film
Journalists 2014
Les Arcs European Film Festival 2013
Munich Film Festival 2014
Recife Cine PE Audiovisual Festival 2014
Won
Calunga Trophy |
Best Editing (Melhor Montagem)
Mirco Garrone |
Best Supporting Actress (Melhor
Atriz Coadjuvante)
Pia Engleberth
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Won
Special Jury Award |
Honorable Mention
For the young ensemble cast.
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Tokyo International Film Festival 2013
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User Reviews
Amazing film, a must-see!
7 September 2013 | by harjotarora (Canada)
Had the opportunity to see this at the world premiere in Toronto (TIFF13) - the
film completely surprised me and surpassed my expectations. It''s a very
character driven film with real-life day-to-day complexities, but the director
manages to add plenty of humour in the film to keep it super entertaining.
Partially an autobiographical, so the director/writer is reliving his life
through the movie but of course many universal elements have been added to
attract a wider / mainstream audience. Met the director at TIFF - amazing
person. His answers to the q&a were awesome and there is great advice in the
movie too, but I don''t want to give anything away! I want to see it again. This
will be in my top 3 TIFF films for 2013 for sure.
Those Happy Years
(Anni Felici): Toronto Review
by Deborah Young
Italian director Daniele Luchetti''s personal
work follows Kim Rossi Stuart and Micaela
Ramazzotti as a married couple living through
the freedom-seeking 1970s.
A delicate, nuanced film that is unexpectedly
moving in its portrait of a young Italian family
living through the turbulent, freedom-loving
''70s, Those Happy Years uses ironic distance to
talk about very intimate things. Director
Daniele Luchetti (My Brother Is an Only Child)
brings a personal, even autobiographical urgency
to the story, coolly told in hindsight by a
narrator who watched his parents’ marriage
unravel when he was a child. It captures the
excruciating honesty and soul-searching of the
years of feminism and self-liberation, a time
that now seems far, far away. For this reason,
it should evoke a lot of bittersweet memories in
older viewers who will appreciate its light
touch, along with fans of Italian stars Kim
Rossi Stuart and Micaela Ramazzotti, both at the
top of their game here.
Guido Marchetti (Rossi Stuart) is an ambitious
but still unknown avant-garde artist in 1974,
when things were considerably groovier than
today. He sculpts female nudes in his Roman
studio by pouring plaster over models’ naked
bodies. His two sons, Dario (Samuel Garofalo)
and little Paolo (Niccolo Calvagna), watch their
father work as though it were the most normal
profession in the world. They’re only kicked out
when Dad needs a private session with his
models, while the artwork is drying.
Typical of the times, the boys call their
parents by their first names. Their mother,
Serena (Ramazzotti), is a pretty, curly-haired
housewife who doesn’t understand the first thing
about modern art, but understands all too well
what her good-looking spouse is up to. Their
fights usually end happily in the bedroom, as
the boys look on. One of the clever things about
the film is the way the kids are treated as if
they’re invisible, making them privy to
everything their parents do and feel and
allowing Dario to be a privileged narrator.
Though at first Serena seems like just another
jealous, slightly dippy housewife, Luchetti
deftly turns that impression around in an early
scene about performance art. Throughout the
film, conventional academic art is challenged by
the new avant-garde; Guido belongs to the latter
school. His foreign gallery owner, Helke
(Martina Gedeck of The Lives of Others), gets
him a shot at the big time: an important group
show in Milan. Though he orders Serena to stay
home, she turns up with the kids anyway. In a
beautifully imagined and filmed sequence
artfully balanced between humor and
embarrassment, Guido walks into the gallery
stark naked with four of his models, who proceed
to paint his body while an assistant challenges
the squirming, well-dressed crowd of critics and
spectators to take off their clothes. From the
back of the room, Serena and the kids look on
bug-eyed. Her spontaneous reaction is a touching
expression of her naivete about modern art, as
well testimony to the love, trust and admiration
she bears her husband.
Thanks to Serena, the critics pan the
performance as “fake”.
But the film audience, at least, is now firmly
on her side, and Guido and his artistic male ego
drop away as the screenplay unexpectedly shifts
its attention to her. Serena has always accepted
Guido’s unliberated attitude that a wife should
stay home and care for her family, but now
something changes inside her. Had it not been
for her wonderful openness in the Milan scene,
it would be impossible to believe she could go
so far so fast in taking ownership of her
feelings and rights as a woman. In the short
space of a summer, under the playfully watchful
eye of Dario’s new 8mm film camera, Serena puts
aside her doubts and heads off to a feminist
retreat in France with Helke and the kids in
tow. There, as the expression goes, she learns a
lot about herself. When she returns to Rome, her
marriage to Guido will never be the same.
There’s something heart-wrenching about the tone
of the screenplay, co-authored by the director
with top screenwriters Sandro Petraglia and
Stefano Rulli, both of whom worked on My Brother
Is an Only Child. Given the fact that Luchetti’s
father, sculptor Luca Luchetti, had a career
similar to Guido’s, and that his artwork was
used in the film, it’s hard not to associate
Daniele Luchetti with the eager young filmmaker
Dario Marchetti. In any case, the story’s warm,
affectionate tone will make the audience agree
with Dario’s reflection that, despite all the
chaos and painful moments in his youth, in
retrospect they were the “happy years.”
Rossi Stuart is wholly believable as the angry,
self-absorbed artist, the product of a mother
who never stops cutting him down, even as an
adult. But Ramazzotti steals the spotlight from
him with her engaging pout and sudden courage to
defy her big, warm family of shopkeepers and
follow her own path. The performances are
underlined by very delicate and illuminating
mood music from composer Franco Piersanti.
A disclaimer: Luchetti presents what must be one
of the most glowing portraits on film of an art
critic: one who not only forgives a punch in the
face for a negative review, but nobly offers
sage words of advice and a pat on the back when
the same artist changes register and starts
producing good work. It’s one of the film’s
little surprises.
Venue: Toronto Film Festival (Special
Presentation), Sept. 13, 2013
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