L'edizione 2012 del Festival Internazionale del Film di Roma si svolge dal 9 al 17 novembre. Unico lungometraggio indiano in cartellone: Tasher Desh di Q (alias Qaushik Mukherjee), in concorso nella sezione CINEMAXXI.
Aggiornamento del 21 novembre 2012: vi segnalo di seguito alcune recensioni.
- CineClandestino: 'Tasher Desh irrompe (...) con la deflagrante potenza distruttrice di un ordigno nucleare: (...) il film di Q è una delle materializzazioni possibili dell'idea stessa di kermesse propugnata da Marco Müller, quella che vede il festival come un luogo che accorpi nella stessa anima ricerca e intrattenimento, sperimentazione visiva e racconto popolare, innovazione e classicità. (...) La classe registica di Q, in grado di lavorare sulle geometrie della messa in scena e su un utilizzo quanto mai fertile e creativo della scenografia (la natura dello Sri Lanka, dove il film è stato girato, si mescola alla perfezione con la particolare ricreazione dello spazio voluta dal regista), si abbandona fin dall'incipit in bianco e nero (...) a una furibonda apocalisse visiva. Il montaggio sincopato, la narrazione ellittica e sconnessa, la recitazione urlata, le inquadrature sghembe fanno di The Land of Cards un elogio della frenesia e del caos che evidenzia, prima ancora che lo faccia il testo in sé e per sé, l'anima profondamente libertaria e antifascista del film. Una scheggia impazzita che attraversa la prassi cinematografica missando al proprio interno la cultura occidentale e quella indiana. (...) Q pone la firma in calce a un'opera orgogliosamente post-punk, in cui anche il colore è utilizzato in modo eversivo (...) e un incontro di ping pong dalla brevissima durata può essere risolto registicamente con otto inquadrature diverse. Spiazzante ed esaltante allo stesso tempo, The Land of Cards rammenta a coloro che ne avessero smarrito la memoria quanto il cinema possa essere rivoluzionario nell'utilizzo stesso delle tecniche e degli stili'.
- CineFatti: 'Tasher Desh è un capolavoro di rara bellezza e raffinatezza (...): Q può diventare il regista simbolo del cinema del XXI secolo, con le sue idee, con la sua fusione di stili e con i brividi di grande cinematografia classica inseriti in un vortice d’innovazione. (...) Sono uomini e donne, attori eccezionali che recitano come fossero in un'opera di teatro contemporaneo. È la regia di Q a rendere tutto diverso, movimentato, emozione pura, Cinema. (...) Gioia per uno dei film migliori visti fino ad oggi qui al Festival Internazionale del Film di Roma, il migliore della sezione CinemaXXI in cui concorre. Duro da sopportare, difficile da digerire in molti momenti, ma le vere sfide vengono dai lavori difficili se si ha voglia di capirli e viverli per quello che vogliono essere. Momenti di puro cinema, cinema del futuro, quello che vorremmo vedere prevalere, simbolo del nuovo che tanto farebbe bisogno al mondo intero, perché si deve capire che le barriere vanno abbattute e spazio va lasciato alle nuove possibilità e ricerche'.
Area del profilo Facebook di Q dedicata alle fotografie scattate a Roma.
Aggiornamenti del 23 agosto 2013 - A partire da oggi, Tasher Desh viene finalmente distribuito in alcune aree in India in sale selezionate. Nell'intervista concessa da Q a Box Office India, pubblicata il 17 agosto 2013, si legge:
'The film travelled to the Rome Film Festival. How was it received there?
I was very happy with the response there. It was screened in a section called Cinema 21 and that was brilliant since I was in competition with people who I have looked up to all my life. My life was made that day. More importantly, I was happy knowing that critics were watching those films, which were not really cinema but playing with form. They were not looking for narrative, so I was overwhelmed. 90 per cent of them liked my film and equated it with an art installation project with lines and music. The narrative was always a problem so I was criticised there. But everybody who loved it also hated the fact the narrative was not joined'.
Vi segnalo anche la
recensione di Raja Sen (giudizio 3,5), pubblicata oggi da Rediff, recensione che, nella versione integrale, include inaspettatamente più di un riferimento a David Bowie:
'The thing about building a house of cards - indeed, a country of cards - is that its very existence is rooted in caprice. With Tasher Desh, radical filmmaker Q takes on Rabindranath Tagore’s play and interprets a familiar text with much vim and great style, and yet the fact that the end results are uneven - and uneven they certainly are - seems as much an inevitability as a matter of choice. Discordance was always, well, on the cards. (...) This is a bizarre film, one that unapologetically meanders through most of its first hour, giving us a hint of its characters while soaking us in a psychedelic cauldron of ennui. It’s the same one Q’s protagonists sip from. On one hand is a bespectacled writer who wants to mount a production of Tasher Desh, but is overwhelmed by the relentlessness of the world around him. He escapes into the pages, where we meet the play’s hero, a restless Prince weary of his luxurious cage. And as the story flip-flops between these two, the teller and the doer, the film’s visuals take over our heads. (...) The surreal, madcap imagery is captivating, and many an image remains lodged in my head. Even a few that I found tiresome at the time. A primary reason for the tenacity of these strong, strange images - an Oracle with David Bowie cheekbones, a toddler prince with a sword larger than himself, clockwork squirrels going around in circles - is how violently they’re juxtaposed, not just against each other in immediate contrast, but along with the music. The soundtrack takes the songs from Tagore’s original musical and keeps the lyrics the same, and while the music is edgy and eclectic and defiantly modern, it is the classic lyrical heft that propels the film’s narrative. The filmmakers have done an artful job of subtitling these words, often sacrificing literality for inferred meaning, which helps greatly in grasping the film. This happens with dialogue too, when characters repeat the same lines and words over and over but the subtitles ascribe different meanings, or emphasise different parts of the translated line. (...) Clearly influenced by Lewis Carroll, Tagore conjured up a fascistic nation of people dressing up as playing cards, giving his musical its name. Q revels in this opportunity for structured mayhem, and his uniformed card soldiers (who come this close to actual goose-stepping) are a work of art, with their faces painted white and a tiny logo, of the suit they belong to, on their lips. The effect is striking - more Terry Gilliam than Tim Burton, thankfully - and with this highly theatrical approach, the film takes on a comic-book appearance. The colours pop, the subtitles are more stylised, and the cards yell out Bengali chopped into staccato syllables. “Progress?” is translated as “égobo?” but screamed “É!”, “Go!” and “Bo!”. (...) The Prince and his friend, cornered by gun-toting cards for having the temerity to laugh, come up with a delicious origin story and begin to sow seeds of revolution by appealing to the card-women. Good move, that. Suggestions of liberty from the outsiders intrigue the women in the ranks, and soon there is a full-blown sexual revolution. And here it is that the film becomes a highly erotic one, throbbing with abstract yet earthy sensuality. (...) Meanwhile, over on the other side of reality, the Writer too is grappling with matters of sexual urgency. “If it’s a riot you want...”, promises a queen ominously, her Bangla obfuscated and rendered exotic by a strange accent. There is a mighty mish-mash of tongues and nationalities amid the cards, hidden by white paint. It is a clever trick, in a film where the cast is mostly impressive. Rii Sen is a striking heroine, Tillotama Shome is evocative as the Prince’s mother, and all the cards get it very right indeed. Anubrata Basu (the hero of Q’s last film, Gandu) is well-suited to the part of the friend, even pulling off a Che Guevara look quite deftly in one scene, and Soumyak Kanti De Biswas is highly compelling as the Prince, especially when he looks fourth-wall-searingly through the camera. Tagore’s 1932 play is a remarkably progressive one, and Q’s adaptation starts off slow and visceral and then - after they land on the island halfway through the film - changes gears to become a racy, lucid, sexy adventure. This gamble doesn’t entirely pay off - the first half has several boring stretches; the film exasperatingly ends just when it hits its most enjoyable stride - but the film is staggeringly original, and far too much of it stays back in the head. To haunt and to enchant. The music plays a huge part, and the critical decision to use Tagore’s original songs - with Q singing on many of the tracks - is one that makes this effort magical, even when it misfires. But who’s to say any of the misfires were unintentional? Tasher Desh is more experience than film, more blank verse than story, and more poetry than anything else'.
Vedi anche:
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| Q - Roma, 2012 |
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| Q - Roma, 2012 |
