high powered sports car, black, running multiple times on a circular road at high speed. The camera is stopped, never moves. We see the fireball speeding once, twice, three, four. Then the car stops. Nothing happened: the time has only film captured the real-time. This is Antonioni, it seems. O Wim Wenders. Instead, it is Sofia Coppola. It tells us to talk about what the rest of the film. A Somewhere however, lacks the force of the clash with the reality and spirit of redemption. The descriptive narration is growing, no doubt about it, nothing in the vortex of the television (Berlusconi?), In the wheel of endless passions collected by the female protagonist, but without a final visual sense. We would feel cheated if not in fact the president of the jury at Venice Film Festival, Quentin Tarantino, a former partner of Coppola, had won an award for the political value. But this did not happen. The main character runs away from his empty (which recalls the loneliness of the Marcello de The sweet life of Fellini in his relationship with the innocent child and unaware of the monsters of the time) to another vacuum that allows freedom of interpretation to the viewer. Tell us about boredom, but without an ending worthy of a tragic vision. The Romans would say "nun Spain ago '."
Claudio Siniscalchi on The West has spoken thus: "The originality of" Somewhere " warns against aesthetic (especially ethical) of considerable interest: Sofia Coppola [...] is the cultural mirror of post-feminism, is the most lucid interpreter of the de-socialization process that has hit the West since the sixties of the twentieth century " . Stop talking masturbation! It 's a movie is too overrated. We Italians are very good at doing this kind of films, from arthouse niche, but not abroad then reward us in the same way as we did with Somewhere; those little Italian art film not so much boring make the general public, but then there's the hypocrisy of foreign films boring, whose surname anagrafe director in this case is Coppola.
Rated 5.5 out of 10
THE PLOT - The protagonist of the film is Johnny Mark, successful American film actor, a nihilistic postmodern times. Johnny does nothing. Spending your days in the sun of the beautiful Chateau Marmont hotel pool, luxurious residence in West Hollywood, Calif., golden goal in the world of entertainment. Between swims another, and another party, gets drunk, flirts with no obligation, does not think of anything, not even the passing of time. Around Johnny slips humanity largely unknown, made up of aspiring actors and actresses in search of success, which is enough even a greeting confidential by the celebrities. And he reciprocates, polite, not too bothered. The bedroom of Johnny is a bustle of dancers, actresses, friends, acquaintances or just met. There are so many that the memory can not remember the names, values, confusing, and sometimes Johnny, exhausted by alcohol, falling asleep on them. Work is also something away from Johnny, actor-free calling and artistic interests. The actor responds to the command, meekly to the demands of those who provide the success of his career: an interview, a photo, press conference, a trip to Milan to attend the evening delivery Telegatti (with the glimpse of seductive body Valeria Marini and abundant in the part of herself, and the description of the empty world with the Italian television comedy demented Nino Frassica near Ventura). Johnny also has a wife, from which it is separated, and a teenage daughter, Chloe. Suddenly Cloe materializes to fill his life. The father finds out that she skates well, is full of interest, sensitive, intelligent and a kitchen with patience and skill. Chloe has grown too quickly: both parents have to do is take care of her. On the surface it seems safe to do this alone, but suddenly gives way, before leaving for a camping holiday, fearing that it was finally abandoned by his mother and can not count in the future the presence of his father. The fear of loneliness grips. As the emptiness of her father.
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