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Ormai è un fatto: quando Emma Stone incontra Yorgos Lanthimos, si innescano scintille, personaggi, storie. La prima volta è accaduto nel 2018 con La favorita: ritratto in costume, anno 1708, in cui, da sguattera, cerca di ringraziarsi a corte la Regina Anna di Gran Bretagna (interpretazione che la portò alla nomination all’Oscar come attrice non protagonista).
Il premio Oscar per la donna-bambina di "Povere creature"
Poi è arrivato il recente successo di Povere Creature!, per raccontare la figura di Bella Baxton: una donna-bambina, ricreata come nel Frankenstein di Mary Shelley, dalla mente infantile e corpo sensuale, che ad un certo punto, stanca di essere ingabbiata da chi l’ha salvata, decide di andare alla scoperta del mondo e di sé stessa. Un ruolo incredibile, fisico, in cui far emergere ulteriormente tutte le sue doti e sfumature, che qualche mese le ha consegnato il secondo Premio Oscar della carriera, questa volta come miglior attrice protagonista dell’anno. Da quel film miracoloso, vincitore del Leone d’Oro a Venezia, ora Emma Stone è pronta a proiettarsi nella terza avventura con il regista greco alla guida, ovvero Kinds of Kindness, presentato in concorso al Festival di Cannes, prossimamente in sala anche da noi, il 6 giugno, distribuito da The Walt Disney Company Italia.
Questa volta la sfida è folle
Questa volta la sfida è folle, ironica, trasgressiva, dividersi in tre personaggi, in un trittico contemporaneo, a tinte dark, perverse, surreali. Tutto nella norma, se pensiamo allo stile e ad altri film passati di Lanthimos, vedi The Lobster, Alps, Il sacrificio del cervo sacro. La (ormai) sua attrice-feticcio, interpreta allora qui tre donne, Rita, Liz, Emily, ognuna diversa dall’altra. Prima fatale, fascinosa, poi, la seconda, diventa moglie scomparsa (ricomparsa successivamente, ma completamente cambiata) agli occhi del marito (interpretato da Jesse Plemons), per poi sconfinare nel personaggio più oscuro, nell’atto finale, dove insegue persone dotate di abilità speciali, in grado col tocco di rianimare i morti, così da avere rispetto e accettazione da parte del guru della comunità-setta di cui fa parte, l’attore Willem Dafoe. Il film è un vortice provocatorio di temi-elementi, da ritrovare e riesplorare in maniera circolare, da cui farsi travolgere in quasi tre ore di narrazione, schiacciati da musiche pop (l’iniziale Sweet Dreams) e suoni stridenti di pianoforte e accordi. C’è il Lanthimos pensiero spiazzante: manipolazione, fanatismo religioso e tossico, servilismo, assenza di libero arbitrio, amore, ballo, animali, la realtà distorta, il tuttocon attori bravissimi, tra cui spiccano pure Hong Chau e soprattutto Margaret Qualley (figlia d’arte, di Andie Macdowell), consolidata tra i volti più richiesti della sua generazione. Sembra ieri, però, quando la Stone diventava l’immagine acqua e sapone della fidanzatina d’America, al fianco dell’ex fidanzato Andrew Garfield, nel doppio The Amazing Spider-Man.
By By fidanzatina d'America
Da quella fase esistenziale e professionale è avvenuta la svolta, come a volersi scrollare di dosso un cliché di bella, brava e accomodante, tuffandosi volutamente nel torbido, in protagoniste consapevoli della propria forza, identità, talento. Qualche esempio? La battaglia dei sessi (nei panni della tennista Billie Jean King, Crudelia, Birdman, e il mondo di Lanthimos, dal quale, pare, non voglia più uscire. E forse, vedendo i risultati e l’ulteriore consacrazione, c’è da capirla.
