{"id":23399,"date":"2004-09-07T15:16:27","date_gmt":"2004-09-07T13:16:27","guid":{"rendered":"http:\/\/www.reflections.it\/wordpress\/?p=23399"},"modified":"2025-12-27T07:19:26","modified_gmt":"2025-12-27T06:19:26","slug":"remote-access","status":"publish","type":"post","link":"https:\/\/www.reflections.it\/wordpress\/remote-access\/","title":{"rendered":"Remote Access"},"content":{"rendered":"\n

La cinematografia russa ci ha spesso abituati ad un approccio freddo e distaccato al tema dei sentimenti. Le sfumature del cuore, l’intersecarsi delle relazioni umane rispecchiano in genere la glacialit\u00e0 dei paesaggi. Anche Svetlana Proskurina, sceneggiatrice de\u00a0L’Arca Russa<\/em>\u00a0del regista Alexandr Sokurov, affronta una storia intima, familiare, con un punto di vista distante; i suoi personaggi, i quali attraversano tutti una fase di grande crisi interiore, si spostano all’interno di ambienti desolanti e solitari, rifugi dell’anima e insieme luoghi d’evasione da una realt\u00e0 troppo difficile da sopportare. Sono esseri umani che hanno una grande difficolt\u00e0 a comunicare gli uni con gli altri: infatti \u00e8 il silenzio che per lo pi\u00f9 li contraddistingue, un silenzio che verr\u00e0 rotto solo nel momento in cui per caso essi inizieranno a parlare mediante il telefono, mezzo di comunicazione comunque isolante per eccellenza. Purtroppo la regista non riesce a realizzare un film in grado di colpire la sensibilit\u00e0 dello spettatore; il limite maggiore risiede nei dialoghi eccessivamente criptici e contorti, che sembrano non portare a nulla, volti inutilmente a simboleggiare l’incomunicabilit\u00e0 dei protagonisti. Inoltre il film passa con troppa repentinit\u00e0 da toni intimisti ad altri eccessivamente melodrammatici (si veda il nero finale); scade cos\u00ec in un freddo esercizio di stile, per di pi\u00f9 inficiato da una fastidiosa pretesa intellettuale. L’analisi dell’opposizione tra suono e silenzio, comunicazione e mutismo non viene dunque approfondita adeguatamente e il film si salva solo per la dolce presenza della giovane Dana Agisheva, di una bellezza infantile ma assai conturbante.<\/p>\n\n\n\n

di Simone Carletti<\/p>\n","protected":false},"excerpt":{"rendered":"

La cinematografia russa ci ha spesso abituati ad un approccio freddo e distaccato al tema dei sentimenti. 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