Excellent start in Cannes for Italian cinema: “Outside night”, Marco Bellocchio’s series focused on the kidnapping of Aldo Moro, enthuses, and convinces “L’envol” by Pietro Marcello, chosen as the opening film of the Quinzaine des Réalisateurs.
Nineteen years after the beautiful “Buongiorno, notte”, Bellocchio has chosen to return to one of the news events that marked the Italian twentieth century: divided into six episodes, “Exterior night” was presented in its entirety within the Cannes Première section and it will be released in our theaters in two parts (the first already this week, the second on June 9) before being broadcast in the autumn by Rai, opening with a dazzling incipit full of that imaginative force that has often characterized the career of the director born in 1939 , the series (which could undoubtedly be defined as a full-fledged film, albeit lasting more than 5 hours) focuses in the first episode on the days preceding the kidnapping, with great attention to the alliance that was being formed between the Party Communist and Christian Democracy.
If already in this first part one grasps all the artistic and narrative power of the operation, it will be with the continuation of the episodes that the true meaning of a series emerges even more that wonderfully manages to broaden the perspectives of reading an already well-known fact and chatted.
The multiplicity of points of view
After the moment of the kidnapping, shown at the end of the first chapter, a real multiplicity of points of view opens up, with the script that follows the “other” protagonists of the story, (re) starting from the then Minister of the Interior Francesco Cossiga and, in the third episode, by Pope Paul VI.From the Brigades to the relatives of Aldo Moro, Bellocchio manages to offer an impressive overview of all the forces in the field, finding a remarkable dramaturgical power especially when he focuses on the private side of the various characters in scene. In fact, there are even moving passages in this great narrative capable of speaking about yesterday’s Italy and at the same time speaking to the Italians of today, through a series of reflections that are still of great urgency, both from a political point of view and from a point of view. A cast in form contributes to this great result, including (among others) Fabrizio Gifuni (Aldo Moro), Margherita Buy (Eleonora Moro), Toni Servillo (Pope Paul VI) and Fausto Russo Alesi (Francesco Cossiga ).
After the excellent documentary «Marx can wait», presented at Cannes last year, Bellocchio confirms himself as one of the great directors of our cinema and an author always capable of transmitting very strong emotions to the viewer; his film was celebrated in theaters with 10 minutes of applause.