An unusual, beautifully shot movie. For myself, I saw both pros and cons.
Let's start with a good one:
- Undoubtedly, a beautiful picture, bright and emotional.
- Causes many feelings, including contradictory ones, and this is a sure sign of something worthwhile.
- Cinema is not without morality, and I think everyone will see its meaning in it, which is also great: I do not like unambiguous stories.
But in a barrel of honey not without a spoonful of tar:
- Timekeeping is a bit tiring. Despite the fact that the picture is solid and, seemingly, there is nothing to throw out of it, you get a little tired of watching.
- The nonlinear structure of the narrative is periodically confusing.
The film tells about how the relationship of the artist Anna and the physicist Marco developed - full of opposites, which suddenly complemented and changed each other.
There's both cute romance and some teenage madness - something that's sure to interest a younger audience. For those who are older, it will be more interesting to watch how people change in relationships, how they are looking for a way to preserve love among everyday life and the bustle of life.
The director makes an attempt to interest everyone, and whether he succeeded is up to the audience.
The love of a man as it is, in care, in the manifestation of sincere feelings, in humor. And a woman, with her storms of emotion, insecurity and lightness.
Great movie for me. Subtle, with humor and with the most sincere feelings. And choice, unconditional choice.
- You can make a mistake doing nothing.
- In order not to be boring, you need to tell the truth, you will always be in good shape.
- If you really love it, don’t get away.
- Try to be happy, dopamine makes time go faster.
Full involvement, as if they were carrying a child together.
- She's happy.
- This is bullshit. It is impossible to know all the conditions of the process. An event with the lowest, very low probability of occurrence can occur.
- Time exists, we realize it when we lack it.
- These two are doomed to live only on the pages of the comic, because she is afraid of real life, and he never managed to convince her that she is beautiful.
- This is our moment and we decide how long it lasts.
- Some qualities of the soul do not manifest without disease.
- I chose her because I needed her madness not to go crazy.
"Superheroes" is a film in which the main character is time. This beautiful and talented film immerses us in the story of the relationship of two very different people, Anna and Marco. Only one of them knows what love is. The second person loves only himself and lives only as interesting and convenient to himself.
Knowing what real love is, being able to love and not being afraid to love is a superpower. To love in spite of selfishness, anxieties, betrayals, neural connections formed by childhood traumas, circumstances and fatal diseases is given only to units of superheroes. That’s what the movie is about.
Anna is a creative, impulsive artist living in the world of drawings. At some point, she seems to have met the superhero Marco – intelligent, spontaneous, touching, strange, honest and loving. Over time, Marco’s masks fall off one by one. The viewer sees the real Marco – a petty, lying, cowardly, unhealthy, dishonest narcissist. Strangely, he transforms into a superhero only next to Anna.
And then, by the power of her love, by loving others more than herself, Anna gives Marco her superpower. And from the superhero in her head, he becomes a real superhero. And the man who has maintained all his life that time does not exist begins to appreciate every shig of the past, present and future. It is amazing that this film teaches the love of the audience. Everyone who watches gets a little superpower. After all, Anna is not the only superhero in this film.
Go to 'Superheroes' no children and infantils, there is nudity and the plot is very adult.
I am not a big fan of melodramas, but since I liked the two previous films by Paolo Genovese (Ideal Strangers and Meeting Place), I decided to watch his new film Superheroes/Supereroi, 2021, which is just a melodrama. The film is not bad and the actors are good, but the story itself is not very original, but sometimes tear-pressing. The main characters - Anna (Jazmine Trinca) and Marco (Alessandro Borghi) accidentally collide during the rain in the alley, but fate is destined to be together, so she brings them together again. Anna works as an artist, draws comics, this is just a series of her comics called “Superheroes”, in them she semi-autobiographically portrays a couple, Marco teaches physics at the university, i.e. they are like completely different people, but she does not pay attention to this circumstance, although Anna herself at first advocates even separate living. We observe the development of their relations, and we are shown them now and then in the past, the chronology of events is mixed. From time to time, people from the past appear in the present, and in completely unexpected circumstances. And the end should completely squeeze a tear out of us, Anna decides to finally have a child at the most inopportune time, I will not quite disclose what time. Of course, in life, everything happens and people behave differently, maybe it happens. Unfortunately, the film didn’t make much of an impression on me, although out of sympathy for Genovese, perhaps someone else will want to see it, as I did myself.
Standard music, standard meeting, standard chance realm, standard sun shooting, standard glossy picture. The whole film is a sweet story about the ten-year history of Anna and Marco’s relationship. So to speak, highlights, placed not in chronological order at all. The film positions itself as a fusion of opposites, as an eternal development and as the embodiment of idealism - and all this is fundamentally wrong.
All her life Anna sketches in the exact dialogues of autobiographical comics. Her new project is Super Heroes. And his concept screams about metaphysicality, about a distant ideal, just in its inclination comparable to Clark Kent, but then Anna makes a mistake: she decided that her family is the ideal, the guideline that motivates to get better. And the first hour it seems that she is, on the whole, right, until the director through the mouth of Marco tells her the truth, which for some reason everyone decided to blithely ignore. But the spectacle not only cuts the eye with a gloss of form and content (that is, it turns out, its complete absence), but also tires of the banality of moves from which the creators are trying to squeeze at least some magic. Dialogues between the two teachers about personal life in the workplace, dinner parties, a game of surgeon, dry household, ubiquitous gossip, clearly revealing the helplessness of the director, going around the market and resting in a secret place - all this is filmed in a surprisingly general way, the details are so negligent, and the palette of feelings is so scant that the stereotype is recalled: "Of the dead or good or nothing." Apparently, Paolo Genovese at the beginning of the story decided that the two central characters are corpses, and he simply does not give another interpretation.
In terms of the degree of dullness and ideological feast, the first part can be inferior only to wedding videos cut to stock music with too smooth editing glues. The film literally has nowhere to go since it’s perfect. This self-admiration would be permissible if there was something real in it. Or vice versa: at least something fantastic. A set of ostensibly extraordinary, special scenes becomes a mere documentation of an unconventional ideal life invented by a student filmmaker. No enthusiasm, no purpose, no inspiration. With such a foundation, no further progress, no intrigue is possible, even if the characters begin to stumble - I will not believe and will not be imbued with a conflict that arises only against the background of love sucked out of a finger.
Even though the relationship of the main characters is very eloquently developing as if in a spiral, they absolutely do not undergo any changes. All the same jealousy, the same breaks that occur without clear logic and end in the same way: without any character arc, behind the scenes, just like that. The invariable motive is naked love, without cause and effect, which feels as cardboard, flat and unskillful as everything in this film: an absolutely wretched comic book, mystically having great popularity, an unstandup, seasoned with too artificial laughter, even the words of a doctor who issued a monologue about the stupidity, rashness and untimely decision of the main character, and then immediately changed his opinion 180 degrees out of the blue. Everything for the sake of gloss, behind which there is nothing: everyone can make a beautiful shot against the sun on high-quality equipment, but fill it with lively feelings, at least as in the recent "Quiet Swamp", find beauty in the chaos of nature and the severity of the urban landscape and show it untouched and alive - this is an impossible task for this film.
“Sometimes it’s nice to hear someone’s footsteps in the house”, “sometimes cool things are born out of mistakes”, keywords – sometimes, sometimes. But the film decides to stubbornly close its eyes, stating that something good will come out of the mistake. This is a desperate position, a last chance, but not a creed in life. I am not trying to say that mistakes are bad (this is not at all true), but with such an approach, branding any experience positive, all the dialectical idealism inherent in the tape and the physical embodiment of this concept in the form of the notorious comic book, like all talk about the essence of time and fate – all this can be safely thrown into the trash.
3 out of 10
The plot of the Italian melodrama is built around the relationship between a professor of physics and a comic book artist. This is the second film in a row that I watch affects the profession of a comic bookmaker among the main characters (the first was the most beautiful & #39; Worst man in the world').
The film begins, to the point of platitude, romantically: rain, two random strangers, a short original conversation and the ensuing huge story of their love for 10 years. At the beginning, I was interested in guessing the city/country where everything happens: 'He said about the lyres. It's definitely Turkey, but the director is Italian. Hmm, it doesn't add up. Perhaps this is done consciously: just a modern unified metropolis, in which people live with their own experiences ' (I mused). Then, unfortunately, the director begins to mix the episodes clip without following the chronology. This does not lead to a conceptual approach (critics will write: ' layered cake of allusions'). All this turns into a misunderstanding of the storyline: 'here she is pregnant, now not' 'And this heart surgery has already been repeated or the very first one about which... ' As an adult viewer succinctly said to his wife behind me: 'Two films in one'. No, I didn't think it was a mess. Because of these same clip episodes, it becomes difficult for the director to create an emotional dynamic, so he just adds the entire dramatic bouquet to the melodrama. Sorry, but some identification ' tags ' not a whole melodrama. Of course, you will recognize yourself in heroes. Of course you want to go to Italy. Unfortunately, sometimes directors should be stopped from filming films for 2 hours, even if the budget for them is found. As for the name, it can be beautifully interpreted: a long relationship is the heroism of modern society. By the way, in Russia the number of divorces in 2021 was a record for the last seven years. Love each other in this difficult time.
Paolo Genovese is a Roman romantic! The maestro likes to catch the audience with his non-standard directorial moves, sometimes baffling their consciousness with a sharp change of mood in the frame. So it was with “Perfect Strangers” (a real world hit, later remixed in many countries) peeping at other people’s phones, and with the mysterious “Meeting Place”, where Paolo masterfully mixed genres throughout the film. The director himself has repeatedly stressed in numerous interviews that it is such moves in the cinema that he is most interested in - when comedy turns into drama, when a simple married couple experiences all the high and low points in their relationship. I think you can trust this 55-year-old Italian. Expressive Paolo is married, raising three children, and thanks to this fact, “Superheroes” I see almost his most personal film of his career.
Marco and Anna meet accidentally on a rainy summer evening, and their opposite characters are immediately visible. She is a windy artist, a lover of freedom. He is a teaching physicist, always finding an explanation for every action. With his ragged editing, Genovese as an experienced magician throws the viewer throughout the ten-year period of the heroes’ relationships, changing the happy moments of their meetings with the sorrow of parting and temptation. Yes, in the current conditions, real superheroes are spouses who can survive all the hardships of fate.
Perhaps lost in the cinema viewer, accidentally bought a ticket because of the title of the film, will be disappointed, not seeing after ten minutes in the frame of the characters in the mask. Times are changing not only in the Russian box office. Genovese deftly shifts accents, forcing the audience in the hall involuntarily sobbing. Superheroes is a typical movie for a married couple. For a romantic evening of new lovers on February 14. For all ages and events. With his warm Italian colors, he paints in his mind the belief that we can do everything. Superheroes are us, daily making happy relatives and just passing people.
Italian tragicomedy, sinning excessive sentimentality
The rental comes a new picture Paolo Genovese, an expert of human souls and the author of the cult "Perfect Strangers", who survived 18 remakes in different countries. In the most successful work, the director answered universal questions about trust and honesty in relationships, in the new one he talks about love in general. This time the answer is not perfect.
"Love is a mission doable"
The film is based on Genovese’s 2020 novel Superheroes, which analyzes the relationship between a man and a woman over several years. In the film adaptation, one feels the careful attitude of the author to his own literary source, but the pretentiousness and desire to shoot a universal story comes to him sideways, because, aiming at all spectators at once, the film does not find its audience.
The nonlinear structure of analyzing the stages of relationships tends to please everyone, although, again, young couples may buy sincerity and romance, but will not understand the everyday side of relationships without exceptionally happy or unhappy moments. And experienced - looking at the painful points of the union - there is not enough depth.
At the same time, in the main part of Genovese, it is stoically possible to avoid the platitudes inherent in the genre, thereby distinguishing the film from such romcoms. By the end, the superpower, alas, leaves the author to give way to insane turns, vulgar melodramatic manipulations and other clichés. In the end, the characters communicate with capital truths, as if the elegant polylogue “Perfect Strangers” never existed.
6 out of 10
The new romantic film directed by Paolo Genovese (“Perfect Strangers”) is not just called “Superheroes”. But this is not about human superpowers. Or are you talking about them?
At the beginning of the film, Marco (Alessandro Borghi) on a rainy summer day in one of the alleys accidentally meets a stranger Anna (Jazmine Trinca). He is a physicist who paints portraits of people on the street. Like particles with different charges, they attract and form a strong bond.
Literally immediately we look ten years ahead and see that the characters are still together, but what awaits them next do not know. There are two unfilled spaces for viewers. The interesting thing is that the gaps between the past and the present have their own future. This is not done in order to cause fog, but, on the contrary, to draw the attention of the audience to the fact that for the senses time does not matter. If love exists, it is independent.
There are superheroes here, you ask. At the beginning of the relationship, Anna begins to publish a comic book about heroes who just live together. In part, she was inspired by her parents’ superpowers. Anna's father, quite a super-speed, left the family before she was born. And the mother knows how to disappear - she is an artist and tours all her life.
In the illustrations of her own almanac, Anna tells about lovers who together confront time: they love, despite the problems and fears of a mortgage and the birth of children, live under the same roof, experiencing tragedies and rejoicing in victories, travel together and meet with friends.
Over time, Marco, as a university professor, doubts his conviction of predestination. In his calculated reasoning there is a place for the law of love, which in the people sounds something like this - the greater the distance between lovers, the stronger their attraction to each other. He denies the possibility of time to influence this process.
Even though time is invading Marco and Anna’s lives, it cannot kill love.