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La tecnologia ARRI dietro alla creazione dei quattro mondi estetici del lungometraggio Netflix "Robbing Mussolini"

26/10/2022

Il film, ambientato nel 1945, racconta di un imprenditore milanese impegnato nel reclutamento di una banda per compiere unelaborata rapina. Non si tratta solo di un semplice gioiello, ma di un tesoro leggendario appartenuto a Benito Mussolini. Il film strutturato in quattro mondi, legati a quattro personaggi e quattro situazioni, spiega Corticelli nel corso della nostra intervista a proposito delle dodici settimane trascorse sul set in Italia. Parlando con ARRI del grading HDR, il Colorist Andrea Red Baracca ci racconta come ha dato vita ai colori di questo ambizioso progetto.

Copyright Netflix

Il direttore della fotografia Gian Filippo Corticelli ha creato mondi estetici distinti nel film Robbing Mussolini

Intervista al direttore della fotografia Gian Filippo Corticelli In quali location stato girato Robbing Mussolini ?

Le riprese sono durate 12 settimane. Per la prima met il film stato girato a Roma e dintorni: nell'ufficio di Italo Balbo al Ministero dell'Aeronautica a Castro Pretorio, alla Snia in Largo Preneste, dove c' la vecchia struttura industriale abbandonata che, con l'aggiunta di un po' di macerie, sembrava una zona di guerra, e nel bunker di Soratte. Poi il set si spostato in un castello nel viterbese e in altre location da quelle parti. In seguito siamo stati a Trieste, dove abbiamo girato una parte piuttosto lunga in una location che nel film chiamata Zona Nera: nel porto antico di Trieste stata ricreata una periferia di Milano in cui si svolge la scena del furto del tesoro di Mussolini, il cuore dell'azione del film. Le ultime scene sono state girate a Tarvisio, dove si conclude l'inseguimento finale, mentre le sequenze aggiuntive a Torino.

Che indicazioni avevi ricevuto dal regista sullo stile visivo del film?

Renato De Maria ha dato a me, ma anche ai reparti costumi e scenografia, delle suggestioni precise: ha diviso il film in quattro mondi legati a quattro situazioni, relative a quattro personaggi. Il primo era quello di Cabiria, un night dove lavora la protagonista Yvonne, interpretata da Matilda De Angelis. Il locale frequentato da fascisti, nazisti e partigiani: un'umanit variegata che si ritrova in un luogo in cui si dimentica la guerra per un po'. Per questo mondo De Maria ha pensato al rosso con l'obiettivo di evocare il sangue, la vita che scorre. Poi c' il mondo del protagonista fascista, Borsalino (Filippo Timi, NdR.), il braccio destro di Mussolini nel film. Il suo un mondo freddo, di ghiaccio e marmo, contraddistinto da una luce bianca un po' asettica e da palazzi con scalinate di marmo. Poi c' il mondo di Isola (Pietro Castellitto, NdR.), il protagonista maschile, un mondo legato alla guerra e alle sue cicatrici, fatto di palazzi sventrati e macerie, in cui i colori dominanti sono il ruggine, il marrone, il verde. Infine, c' la Zona Nera, in cui si svolge la scena madre del film, cio la rapina: un mondo buio, oscuro, una zona super sorvegliata, illuminata solo da luci di controllo che scandagliano il buio alla ricerca di eventuali incursori. una situazione quasi in bianco e nero, con meno colore e pi luci e ombre.

Copyright Netflix

Il regista Renato de Maria ha dato precise indicazioni alla troupe sullo stile visivo di Robbing Mussolini

Quali riferimenti specifici avevi in mente per Robbing Mussolini?

Mi interessava soprattutto avere diverse cromaticit che si mescolavano nel fotogramma: soprattutto luce fredda e luce calda. Con Renato abbiamo pensato a Peaky Blinders, Bastardi senza gloria e 1917, che con la ruggine delle trincee ci sembrava una buona reference per evocare il mondo di Isola e la situazione di guerra. Volevamo anche una luce un po' da graphic novel, perci ho un po' derogato al mio comandamento: realizza sempre una luce vera, una luce naturale!

Cosa ti ha portato a scegliere ARRI ALEXA Mini LF?

Avevamo tre macchine da presa: due ARRI ALEXA Mini LF e una ALEXA XT come terzo corpo, con ottiche Signature Prime. Naturalmente ho delle preferenze personali su ottiche e sensori, ma cerco di affrontare ogni film partendo da zero e cercando di capire quale pu essere il sistema pi adatto al singolo film. Un po' come quando esci di casa e devi decidere che scarpe mettere: se vai a fare footing non ti metti gli anfibi. Quando inizio un progetto mi piace fare test comparativi mettendo a paragone sensori e ottiche diversi, poi discuto con il regista e trovo il look pi giusto. In questo caso avevo provato altri sensori, ma ARRI mi sembrava il pi adatto per un film d'epoca ambientato nel 1945, essendo dotato di una certa rotondit . In pi , volendo usare diverse cromaticit all'interno del fotogramma, mi sembrava che il sensore ARRI gi di suo separasse meglio il colore caldo dal freddo, mentre gli altri tendevano tutti ad appiattire un po'. Robbing Mussolini un progetto Netflix, quindi doveva essere realizzato in 4K nativo, allora ho optato per il largo formato, anche per sperimentare la diversa profondit di campo rispetto al super 35.

Copyright Netflix

Trattandosi di un progetto di Netflix, Robbing Mussolini stato girato in 4K nativo

Che valore aggiunto hanno portato le ottiche ARRI Signature Prime?

Pur avendo le mie serie di lenti ARRI preferite, affronto ogni progetto effettuando dei provini per trovare il look migliore per lo specifico film. Anche in questo caso ho fatto dei test con tre o quattro tipi di lenti, e tutto mi portava nella direzione delle ARRI Signature Prime. Robbing Mussolini un film di guerra, quindi potevo esplorare toni vintage e crudi per evocare il 1945. L'incisione rotonda di queste ottiche era perfetta per lo scopo: un'incisione cattiva ma delicata, in un look con toni ruggine e verdi. Inoltre, ci sono alcuni elementi sempre presenti in questo film: il fumo, l'acqua
LINK: https://www.arri.com/news-it/arri-technology-alla-netflix-robbing-muss...
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