{"id":6780,"date":"2018-03-22T23:39:29","date_gmt":"2018-03-22T23:39:29","guid":{"rendered":"http:\/\/asinovolablog.it\/?p=6780"},"modified":"2018-03-22T23:39:29","modified_gmt":"2018-03-22T23:39:29","slug":"d-apres-d-une-histoire-vraie","status":"publish","type":"post","link":"https:\/\/asinovolablog.it\/en\/d-apres-d-une-histoire-vraie\/","title":{"rendered":"D\u2019apr\u00e8s une histoire vraie | The reviews"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid”][vc_column_text]R<\/span><\/strong>oman Polanski, no doubt, is a \u201cliving pillar\u201d of world\u2019s cinema, loved, hated, admired. His latest movies, Carnage<\/em> and Venus in Fur<\/em>, have amazed us as pure jewels of a real Maestro.
\nD\u2019apr\u00e8s une histoire vraie<\/em> has been ignored by critics but our newsroom, namely Margherita Fontana and Carlotta Magistris, have produced two delightful and disagreeing reviews.
\n<\/strong>
\n<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” top_padding=”20″ bottom_padding=”20″ overlay_strength=”0.3″ shape_divider_position=”bottom”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”6781″ alignment=”center” animation=”Fade In” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line” custom_height=”20″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom”][vc_column column_padding=”padding-1-percent” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n
D\u2019apr\u00e8s une histoire vraie \u2013 seen by Margherita Fontana<\/em><\/span><\/h5>\n

Delphine (Emmanuelle Seigner) is a novelist who has become suddenly successful for a book inspired to her mother\u2019s mental illness and suicide in a psychiatric hospital. Drained from her latest literary work, she is in the middle of a writer\u2019s block when she meets Elle, a mysterious admirer. The two become friends, but Elle attachment rapidly turns into a possessive jealousy and a desire to control. We witness a process of identity substitution: Elle becomes Delphine, because obviously Elle is Delphine, a self-projection created by the writer\u2019s guilty conscience for having fed her success with the pain of beloved ones. Again, Elle tries to distract Delphine from devoting herself to fiction in order to force her to write her \u201chidden book\u201d, a true story stolen from her tormented subconscious. Once Pandora\u2019s box is open, Delphine\u2019s life is at risk. However, digging in the cruelty of true life in the end pays: the next book is a success. Based on a True Story<\/em> wants to be a reflection on pain and guilt underlying creative process: to give birth to an artwork is to empower a hidden and dangerous force to feed a public who likes to be satisfied by others\u2019 (and artist\u2019s) pain. Unfortunately, the latest film by Roman Polanski misses the mark: the tragic nature of this \u201ctrue life\u201d in which the artist has to plunge is depicted in a grotesque manner. Let me give you an example. The audience cannot keep itself from laughing when Elle, Delphine\u2019s subconscious brought to life, tells about her life, in order: her imaginary friend, her mother\u2019s suicide, her house\u2019s fire, where her violent father got killed, her virile husband died in an accident. Maybe a little less would have been better.[\/vc_column_text][divider line_type=”No Line” custom_height=”20″][vc_column_text]\n

D\u2019apr\u00e8s une histoire vraie \u2013 seen by Carlotta Magistris<\/em><\/span><\/h5>\n

D\u2019apres une histoire vraie<\/em> is the new awaited movie by Roman Polanski, which after his last insuperable Venus in Fur<\/em> is back with a recognisable film in his morbidity and anxieties confirming the director, who is now eighty years old, as still one of the most interesting things you can see at the cinema. We can feel everything: the typical bittersweet echo of the movie director creating a nefarious relationship, Emmanuelle Seigner, who loses her typical sensuality for a more mature character haunted by the ghost of a mysterious past and the screenplay by Olivier Assayas, who describes an intimate and ambiguous relationship between two women which reminds us of Binoche and Stewart from The Clouds of Sils Maria<\/em> with a misty\u00a0and deeply personal end. To this Seigner\u2019s new adult elegance is opposed an effective Eva Green, sometimes too affected but who leads for the whole movie her evanescent character until a polanskian end, not among his best ones but coherent with the mood of the film.[\/vc_column_text][divider line_type=”No Line” custom_height=”20″][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid”][vc_column_text]oman Polanski, no doubt, is a \u201cliving pillar\u201d of world\u2019s cinema, loved,…<\/p>\n","protected":false},"author":2,"featured_media":6782,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[96],"tags":[133,134],"yoast_head":"\nD\u2019apr\u00e8s une histoire vraie | The reviews | Concorto Film Festival<\/title>\n<meta name=\"description\" content=\"D\u2019apr\u00e8s une histoire vraie, Roman 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