Parallel universes

In 1988, not even the unfortunate title translation that often plagues foreign films upon their arrival in Italy could diminish the groundbreaking originality of a film destined to make history. Beetlejuice – Spiritello porcello (known in the original language simply as Beetlejuice) was the second feature film by that cinematic genius from Burbank, California, Tim Burton – one of the most significant directors of his generation and a recipient of the Golden Lion for Lifetime Achievement at Venice in 2007.

The film encapsulated many, if not all, of the characteristics that would become hallmarks of Burton’s cinema in the years to come: protagonists who meet their demise practically at the beginning of the film, a taste for the macabre that Burton would elevate to the highest poetic and narrative levels over the years, an abundance of irony and self-irony, and above all, actors with the skill to master elements that may seem contrasting at first glance, but are in perfect harmony with each other.

Michael Keaton, Alec Baldwin, Geena Davis, and Winona Ryder were undoubtedly up to the task of bringing to life the surreal story of the mischievous spirit summoned by the protagonists to drive out the new inhabitants of their home, sold after their untimely demise. Beetlejuice Beetlejuice is the second chapter of this story, once again featuring Keaton and Ryder, joined by a cast that includes Jenna Ortega, Monica Bellucci, and Willem Dafoe. This marks Tim Burton’s return to directing five years after Dumbo, and, most notably, it is the opening film of the upcoming Venice Film Festival, with its world premiere scheduled for August 28 in the Sala Grande.

Following an unexpected family tragedy, three generations of the Deetz family return to their home in Winter River. Still haunted by Beetlejuice, Lydia’s (Ryder) life is turned upside down when her rebellious teenage daughter, Astrid (Ortega), discovers the mysterious model of the town in the attic, accidentally opening the portal to the afterlife. With troubles brewing in both realms, it’s only a matter of time before someone says Beetlejuice’s name three times, and the mischievous demon (once again played by Keaton) returns to unleash his chaos.

Venice welcomes back a director whose visionary work has repeatedly made us question the very nature of reality, perhaps the greatest example of how cinema can blur the boundaries of perception, aligning them with the limitless scope of imagination. And that imagination is always, relentlessly hungry.