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Four Winds Film: "Look at Me" from Agnès Jaoui

After The taste of others, here's the next film of French director Agnès Jaoui, Look at Me (Comme une image), 2004, devoted to new "to their (our) unwillingness to curiosity and respect," writes the "Sole 24 ore" Roberto Escobar, a great admirer of Jaoui. Less benevolent on the "manifesto" Roberto Silvestri, according to which the film is "too wrote," and raises it "at times hilarious irony or 'mechanical'." Findings in part (but only in part) shared by Mauro Gervais on "TV Movie," which notes: "The only problem Comme une image (like the rest of The Taste of Others) is Paradoxically, his "perfection." It's all free smears, with a certain mechanical quality literature. Avercene, however.

Thursday, June 24 to 21-night film club at the Circle of Fifths (Viale Trenta April 4, 00152 Rome)

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Nuovilibri: "Bringing everything home" by Nicola Lagioia

What did the author
Title : "Love always Bob Dylan. But in this case" back home "to me has a meaning of generational redemption. If history is written by the winners, the literature often deals with losers. And my, for now , is a generation set against the ropes, systematically betrayed over the years, living in a country not a country with a job that very often not a job, in a life that is not a life. It's like being in the aftermath of '45 without a real war there was, we're all trying to rebuild a kind of trauma without event. Yet despite all this, we developed a completely new way of hearing our time, and betrayal, love, get lost in the street, consuming acts of cowardice or courage. If all this - this feeling, this way of being here and now - do not take it light on the literature or the arts in general, no one else can do it. Here's what it means to me back home ... Bringing all home wants the state to regain possession of something that is emotionally information and get in the form of a novel, finally tell. "
The Eighties: "The eighties were the epicenter of an earthquake invisible, the source or the last decisive contributory cause of the disaster (political, civil, existential, identity) is now plain for all . And there is consumed yet another anthropological mutation of the Italians, when immersed in an atmosphere of cheerful idiocy, a whole country has sold what was left of his soul. "
Bari : "During that decade, Bari was - for better or for worse - what every city worthy of the name should be since the days of Dickens and Baudelaire: a place to gain experience. Bari was my Chelsea, my Venice Beach, my Bronx: Take a few minutes with an electric motor to go from chic neighborhoods to the halls of the Murat Centre-test of the "canyon" packed with fanatics of post punk and new wave with the Clippers at the foot of the gigantic dorm as Japigia areas where heroin flowed. Many cities in a short, a tip of the iceberg stretched to shine under which he was hiding a belly nocturnal, ferocious, underground. "
Style: "The difference from the West for beginners is not so much stylistic as emotional. In this novel, I deal with what concerns me closely ... This, I believe, a counter hot and bloody than the smooth coolness of West for beginners. But even five years have passed between the two books, and awareness of disaster we are living has become more dense. I thought to get involved in more discovery could have a liberating effect. "

What they said critics
Goffredo Fofi / 1 : "In the midst of romanzucoli blacks, pink or umbilical console players, here is a novel depressing, disconsolate, looking in face reality and look for our disastrous causes, finding Autobiographical in the eighties of last century, those of the restoration, enrichment easy, carefree of all ... The path back of the narrator, one of the three, brings him and us to understand how our present has exploded, Italy: it all comes back to a "home" that has no foundation. After West for beginners, a traveling comedy about stupidity of the boot, Nicola Lagioia faces a more structured and traditional narrative, with unforgettable characters (the boys, but especially adults): a collective novel about an embarrassing chapter in the history Italian who has destroyed our hopes "(from International ).
Goffredo Fofi / 2 "Lagioia demonstrates the difficulty encountered in " make history ", and to make the novel as history, the inability to bring order in a social context as well as our rickety, after the eighties. In a world that is voluptuously to the disaster, and that seems happy to go there, the acceptance of adulthood is the acceptance of a boundless mediocrity and a boundless brutality: it is violence on themselves, others, nature, thought " (The Stranger, November 2009, from Puglialibre ).
Luca Mastranotonio : Anthropology, not gossip. Just to cut off the head of the bull, the word does not appear ever Berlusconi, or its derivatives. Yet, it is the story of how we are all now, watching television the Alfa, dreaming of being like Agnelli, with euphoria by applying the 80 egotic the imperative of '68 and '70s: the fantasy of power and the right to have everything immediately. Lagioia has, in a couple of paragraphs, the best of phenomenology in Drive and its impact on Italian minds, the healthier the handicapped ... Even without the permission of the author, we can found in this third round of Nicola Lagioia narrative, the sensitivity of the Calvin Day Watcher in telling, suspending any political or moral opinion, families full of handicapped children who burst onto the scene at the beginning of the novel. The carnality of family visits that open up to the protagonist and his father, a father here, which resembles the injections around the protagonist of Conversation in Sicily Vittorini. And if you are not abstract, here the fury electrically through most of the novel, which is essentially a bildungsroman indulgent melancholy seen through the eyes of those who know that knowledge experience is that "you do not lose what you never had, you do not have what was never lost." A novel of destruction, and return to life "(The Reform ).
Marco Philopat : "The first kiss, the first outgassing on the motor, the first time you see your parents missed shots, they are all difficult times to be forgotten. If you then place in a family where the standard of living has improved over the previous suddenly and morality in the toilet, your future can become quite a puzzle. Nicola Lagioia writes an exemplary story set in the second half of the eighties in Bari, one of the capitals of the second boom of an Italy became the sixth power of the globe. The narrator is a classic only child: the father ex door to door seller has just entered the living rooms right, the mother, a former veteran of the housewife, is learning to use credit cards in the shops of high fashion. In each room a television turned on in Drive crushes the myths and the struggles of the past like a steamroller ... The novel unfolds late new wave of parties and raids outside the fence where the reality of being impacted disastrously on dreams. The plot is well thought-told twenty years after the fact and provides readers with different levels of narrative, but closed the last page, one wonders what the next moves of the protagonist after the brilliant resolution of the case "(from Republic XL).
Franco Buffoni: " is this wonderful new novel by Nicola Lagioia. The wonders of Bildung in the description of two decades of Italian history. We are in Bari, and the '80s. The three teenagers who roam the streets in a fist fight and how to attract wild cats, making everything a twisted exercise in combat. Joseph has red hair, pimples and an inexhaustible reserve of money in his wallet. Vincent is rather beautiful and dark, like any self-respecting antagonist. The third friend is the one that says: the restless eye that records accurately the giddiness of their fifteen years, the long inaction of the school, the precipice into adulthood. In the corners of the suburbs waiting for them the dark side of that time that glitters: something that will force them to question their families, their feelings, and even themselves. It will take them decades to deal with them. By writing a tense, high precision lens and capable of firing dizzying Lagioia tells a story of friendship, betrayal, nailed generation - finally coming to represent the germ of the days we are living, or the eternal youth of a country getting old without having grown "(from Indian Country ) .

Other materials on the novel can be read from the blog Federico Novaro Books. Two interviews with Nicola Lagioia at the exit of Bringing everything home , are respectively Vertigo and site Giuseppe Genna.

Lagioia Nicola (Bari, 1973) debuted in 2001 with the novel Three ways to get rid of Tolstoy (without sparing themselves) published by Minimum Fax. In 2004 he published the novel Einaudi West for beginners. In 2005 he published, for Einaudi Stile Libero, 2005 AD , a novel written with Francesco Pacifico, Francesco Longo Christian Raimo and signed with the collective name of Babette Factory . Also in 2005 came out for the wise Fazi Santa Claus. That is how Coca-Cola has colonized our collective imagination . He has published stories in various anthologies, including impure Patrie (Rizzoli, 2003) Air quality (Minimum Fax, 2004), who worked alongside Christian Raimo, prickly pear seeds ( Nuovadimensione, 2005), Suburbs ( Laterza, 2006), I've seen things ( Library Universale Rizzoli, 2008), we History (Blacks Pozza, 2008). Directs nickel, a string of Italian literature of minimum fax. In 2010 the conduct of Page3, the daily review of the cultural pages broadcast by Radio 3 (from Wikipedia ).

Saturday, June 12 to 11 at the Hall of the frescoes of the DSM via Colautti 28, Nicola Lagioia Monteverdelegge will host a meeting on Bringing everything home .

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Film: The Taste of Others

The Taste of Others ( Le goût des autres , France 1999): A film dialogues and actors - including the same director, Agnès Jaoui - to tell of how difficult it is to communicate with others. According to Luke Baroncini site Central do Cinema, "the film points out in an original and very naturally the absolute subjectivity of taste, the result of a personal sensibility is not always derived from the social context that, by choice, chance or laziness, it is ends up attending. " It speaks well Morando Morandini, who in his film Dictionary defines the film a "rare blend of psychology and sociology, cruelty and compassion, strength of construction and sure cure nuances, simplicity and refinement. "

Thursday, June 10 to 21-night film club at the Circle of Fifths (Viale Trenta April 4, 00152 Rome)

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Family: Fathers and Sons

Of Fathers and Sons (Отцы и Дети) of Ivan Turgenev there are lots of issues, as always happens with the classics. The first, the original dates back to 1862, and has appeared in the journal "The Russian Messenger ". The last, at least in Italian, was released recently, has published Feltrinelli, and the translation of an Italian writer, Paolo Nori, who also wrote the introduction. Here is the beginning:
"Whenever, in these years, I have heard of nihilism, and it happened often, he constantly speaks the pope, I was reminded of this novel Turgenev and especially the protagonist, Bazarov and frogs, and when for example I saw the Coen brothers' film The Big Lebowski, where there was a group of nihilists, all dressed in black leather, which continually repeated, "We do not believe in anything, we do not want anything, we know nothing, "he was reminded that Bazarov was not the case, he believed in frogs, and do not pretend to kidnap their wives of wealthy film producers, like the nihilists of the Coen brothers, if I remember correctly, but studied and cared for people and always knew how to talk with the peasants.
It seemed, in the twenty years that have passed since the first time I read Fathers and sons, that nihilism, as Turgenev had introduced him to Western public opinion, had been in its modern variant is completely misrepresented , and it seemed to me that those three things, Bazarov, nihilism and frogs, were the meaning of the novel, and that the correct interpretation of nihilism, the role of Bazarov, and his work with frogs, the same sense of Fathers and children.
Now that I reread it after twenty years, it seems that things are not like that. "The rest can be read at the site of Paolo Nori.

Saturday, June 5 at 11, reading group on Fathers and sons in the Hall of frescoes of the DSM, by Colautti 28, 00152 Rome