a cura diF.D.S.
  • tuesday, 6 september 2022

L’immensità_Since the very beginning, Crialese’s film claims its place in the Italian pop category – 1960s and 1970s. However, dedicating four interludes to Penélope Cruz playing Raffaella Carrà and Patty Pravo seems overdoing it. Or maybe the film is better at reminiscing the Seventies than in the representation of the other themes, gender and familial conflicts, that it touches.


Blanquita_Frenchwoman Chloé Thévenin authored an amazing score for the Chilean film, immersed in a Goth atmosphere lightened by the lone presence of neon light (it almost looks as if shot in a bunker). No musical themes, only Tibetan standing bells ringing their mourning routine, or segments of delirious tribal drums that shatter the sequence of scenes and the film’s entering the dark side of true and its turning into lie.


The Banshees of Inisherin_Two registries for the soundtrack by Carter Burwell, the composer usually employed by the Coen Brothers. The excruciating Irish folk harmonies and an original nine-note motif sound almost like a dodecaphonic sequence, recurring constantly in the sound of different instruments. There’s little melody, maybe to avoid competition with the enormous pathos of the songs played in the run-down pub in Inisherin, but a constant, hypnotic, tormented accompaniment that turns a beautiful Irish watercolour into the dark folly in the end.