A film within a film where all Moretti’s obsessions are dispensed with
With the Sol dell’Avvenire Moretti has gone back to his origins. And it is a return that is worth double, in fact the film contains others. A film within a film where all obsessions are dispensed with Moretti, from the left to its most absurd paranoia (such as the hatred of sabò). It is also a film that looks like a testament where the nostalgic vein prevails between chirping songs and the crusade against Netflix. Meanwhile the years pass, the loves end without us realizing it and we just have to dance (remembering Battiato) imagining a different past, such as for example the Italian left which could have freed itself from the Russia after the invasion of Hungary in ’56, which he didn’t. It also seems to be an invitation to today’s left dazed by an overflowing right that has robbed the feeling of the people.
There is so much more in Moretti’s film, such as the denunciation of the violent drift as an end in itself in today’s cinema, uselessly because the reality is much worse, here too the director gives us a memorable scene by interrupting the film in the film that his wife is shooting. Run to see The Sun of the Future which gives us back a genuine cinema, only apparently dated, full of hilarity and lightness but which hides very serious themes between the lines. A work full of tributes and ingenious additions (Corrado Augias, Renzo Piano, an attempted conversation with Martin Scorsese), a true hymn to cinema, the one that is never banal and light years away from stereotyped productions that must be appreciated in 190 countries (such as Netflix productions, again a memorable scene). If not Moretti’s best film, undoubtedly among his most successful which confirm the artistic caliber of a director loved by both festivals and audiences.
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