{"id":36529,"date":"2016-06-19T15:03:30","date_gmt":"2016-06-19T13:03:30","guid":{"rendered":"http:\/\/www.rapportoconfidenziale.org\/?p=36529"},"modified":"2016-06-19T15:11:46","modified_gmt":"2016-06-19T13:11:46","slug":"lynne-ramsay-swimmer","status":"publish","type":"post","link":"https:\/\/www.rapportoconfidenziale.org\/?p=36529","title":{"rendered":"Lynne Ramsay | Swimmer"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-36535\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_cover.jpg\" alt=\"swimmer_cover\" width=\"1112\" height=\"741\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_cover.jpg 1112w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_cover-150x100.jpg 150w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_cover-300x200.jpg 300w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_cover-1024x682.jpg 1024w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_cover-436x291.jpg 436w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_cover-673x449.jpg 673w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_cover-950x633.jpg 950w\" sizes=\"auto, (max-width: 1112px) 100vw, 1112px\" \/><\/p>\n<p>\u00abIn realt\u00e0 l\u2019ho scelta un po\u2019 perch\u00e9 non avevo molti soldi e poi perch\u00e9 ero rimasto sbalordito dal suo lavoro fatto su <em>Swimmer<\/em>, un corto di Lynne Ramsay. Inoltre, il fatto che sia una donna mi ha fatto subito propendere per lei. \u00c8 stato il mio istinto.\u00bb Sono queste le parole usate da Nicholas Winding Refn, in <a href=\"http:\/\/www.nocturno.it\/i-miei-demoni-luminosi\/\" target=\"_blank\">un&#8217;intervista a Nocturno<\/a>, per spiegarci il perch\u00e9 abbia scelto Natasha Braier come direttrice della fotografia di <em>The Neon Demon<\/em>. Limitandosi a quanto detto del regista danese si potrebbe pensare di trovarsi al cospetto di un&#8217;esordiente o gi\u00f9 di l\u00ec. La realt\u00e0 \u00e8 invece ben altra: Natasha Braier \u00e8 una interessantissima professionista attiva da circa vent&#8217;anni, in possesso di un curriculum decisamente rimarchevole. Sua \u00e8 la fotografia di opere particolarmente riuscite quali: <em>My Life Without Me<\/em> di Isabel Coixet (2003), <em>Glue<\/em> di Alexis Dos Santos (2006), <em>XXY<\/em> di Lucia Puenzo (2007), <em>Dans la ville de Sylvia<\/em> di Jos\u00e9 Luis Guerin (2007), <em>Somers Town<\/em> di Shane Meadows (2008), <em>La teta asustada<\/em> di Claudia Llosa (2009), <em>Casse-t\u00eate chinois<\/em> di C\u00e9dric Klapisch (2013). Tutt&#8217;altro che una scommessa dunque, quella di Refn.<\/p>\n<p>Straordinario \u00e8 il bianco e nero di <em>Swimmer<\/em>, bel cortometraggio diretto da Lynne Ramsay \u2013 nota ai pi\u00f9 per tre interessanti lunghi: <em>Ratcatcher<\/em> (1999), <em>Morven Callar<\/em> (2002) e <em>We Need to Talk About Kevin<\/em> (2011). Opera breve decisamente curata in ogni suo aspetto, dalle immagini al sonoro e con un montaggio davvero convincente, che trasporta lo spettatore in una dimensione onirica, sospesa tra epoche differenti. <em>Swimmer<\/em> \u00e8 allucinazione e metafora di un qualcosa di sfuggente e con tutta probabilit\u00e0 \u00e8 proprio questa sua dimensione esoterica ad aver affascinato il demone danese. <em>[AG]<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify;\"><strong>SWIMMER<\/strong><br \/>\n<strong>Regia:<\/strong> Lynne Ramsay \u2022\u00a0<strong>Fotografia:<\/strong> Natasha Braier \u2022\u00a0<strong>Montaggio:<\/strong> Adam Biskupski \u2022\u00a0<strong>Casting:<\/strong> Des Hamilton \u2022\u00a0<strong>Production Design:<\/strong> Jane Morton, Kiera Tudway \u2022\u00a0<strong>Art Direction:<\/strong> Kristine Maj De Neergaard \u2022\u00a0<strong>Costumi:<\/strong> Sarah Blenkinsop \u2022\u00a0<strong>Trucco:<\/strong> Gabrielle Hamilton \u2022\u00a0<strong>Supervisione postproduzione:<\/strong> Mike Morrison \u2022\u00a0<strong>Production Manager:<\/strong> Emma Richards, Luke Thornton \u2022\u00a0<strong>Head of Production:<\/strong> Barry Ryan \u2022\u00a0<strong>Sound Designer:<\/strong> Paul Davies \u2022\u00a0<strong>Sound Mixer:<\/strong> Simon Farmer \u2022\u00a0<strong>Effetti speciali:<\/strong> Dominic Blake, Zac Matheou \u2022\u00a0<strong>Digital Colourist:<\/strong> Jean-Clement Soret \u2022\u00a0<strong>Location Manager:<\/strong> Rod Haak, Emma Yeomans \u2022\u00a0<strong>Location Scout:<\/strong> Al Mackay \u2022\u00a0<strong>Music Clearances:<\/strong> Lucy Bright \u2022\u00a0<strong>Music Supervisor:<\/strong> Rory Stewart Kinnear \u2022\u00a0<strong>Produttori:<\/strong> Peter Carlton, Diarmid Scrimshaw \u2022\u00a0<strong>Produttori esecutivi:<\/strong> Leonie Bell, Katherine Butler, Rory Stewart Kinnear, Christine Langan, Ruth Mackenzie, Joe Oppenheimer, Lynne Ramsay \u2022\u00a0<strong>Line producer:<\/strong> Martin Box, Sarada McDermott, Trevor Evans \u2022\u00a0<strong>Interpreti:<\/strong> Tom Litten (The Swimmer), Niall Burton, Curtis Coker, Joshua Coleman, Tony Heirs, Samuel Harry Hockday, Adam Holden, Kit Johnson, Charlie Likeman, Caleb Powel Lindon-Emms, Gabriel Ronnie Lindon-Emms, Joshua John Lindon-Emms, Carolina Main, Jasper Martin, Sophie McKeeman, Oscar McVeigh, Gemma Norris, Seth Perkin, Henry Rodwell-Lynn, Tafadzwa Tandi, Tom Tatam, Chloe Turner \u2022\u00a0<strong>Produzione:<\/strong> Warp Films, BBC Films (funding), Film4 (funding), Halo Post Production (sound re-recording) \u2022\u00a0<strong>Colore:<\/strong> bianco e nero \u2022\u00a0<strong>Rapporto:<\/strong> 1.85 : 1 \u2022\u00a0<strong>Camera:<\/strong> Arriflex 35-III &#8211; Cooke S4 and Zeiss Super Speed Lenses, Arriflex 435 &#8211; Cooke S4 Zeiss Super Speed and Angenieux Optimo Lenses \u2022\u00a0<strong>Laboratorio:<\/strong> The Moving Picture Company (MPC) &#8211; Londra \u2022\u00a0<strong>Negativo:<\/strong> 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219) \u2022\u00a0<strong>Processo fotografico:<\/strong> Digital Intermediate 2K (master), Super 35 3-perf (source) \u2022\u00a0<strong>Formato di proiezione:<\/strong> D-Cinema \u2022\u00a0<strong>Lingua:<\/strong> inglese \u2022\u00a0<strong>Paese:<\/strong> UK \u2022\u00a0<strong>Anno:<\/strong> 2012 \u2022\u00a0<strong>Durata:<\/strong> 16&#8242;<\/p>\n<p style=\"text-align: justify;\"><a href=\"http:\/\/www.bbc.co.uk\/bbcfilms\/film\/swimmer\" target=\"_blank\">sito ufficiale<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-36530\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_01.jpg\" alt=\"\" width=\"782\" height=\"440\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_01.jpg 1280w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_01-300x169.jpg 300w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_01-1024x576.jpg 1024w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_01-436x245.jpg 436w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_01-1112x626.jpg 1112w\" sizes=\"auto, (max-width: 782px) 100vw, 782px\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-36531\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_02.jpg\" alt=\"\" width=\"782\" height=\"440\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_02.jpg 1280w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_02-300x169.jpg 300w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_02-1024x576.jpg 1024w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_02-436x245.jpg 436w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_02-1112x626.jpg 1112w\" sizes=\"auto, (max-width: 782px) 100vw, 782px\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-36532\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_03.jpg\" alt=\"\" width=\"782\" height=\"440\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_03.jpg 1280w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_03-300x169.jpg 300w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_03-1024x576.jpg 1024w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_03-436x245.jpg 436w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_03-1112x626.jpg 1112w\" sizes=\"auto, (max-width: 782px) 100vw, 782px\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-36533\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_04.jpg\" alt=\"swimmer_04\" width=\"782\" height=\"440\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_04.jpg 1280w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_04-300x169.jpg 300w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_04-1024x576.jpg 1024w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_04-436x245.jpg 436w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_04-1112x626.jpg 1112w\" sizes=\"auto, (max-width: 782px) 100vw, 782px\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-36534\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_05.jpg\" alt=\"swimmer_05\" width=\"782\" height=\"440\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_05.jpg 1280w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_05-300x169.jpg 300w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_05-1024x576.jpg 1024w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_05-436x245.jpg 436w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_05-1112x626.jpg 1112w\" sizes=\"auto, (max-width: 782px) 100vw, 782px\" \/><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00abIn realt\u00e0 l\u2019ho scelta un po\u2019 perch\u00e9 non avevo molti soldi e poi perch\u00e9 ero rimasto sbalordito dal suo lavoro fatto su Swimmer, un corto di Lynne Ramsay. Inoltre, il fatto che sia una donna mi ha fatto subito propendere per lei. \u00c8 stato il mio istinto.\u00bb Sono queste le parole usate da Nicholas Winding Refn, in un&#8217;intervista a Nocturno,<\/p>\n","protected":false},"author":6,"featured_media":36535,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1710],"tags":[17068,17252,68,17066,17069,17071,13860,17067,17070,8597],"class_list":["post-36529","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-cineteca","tag-bbc-films","tag-cineteca","tag-cortometraggio","tag-lynne-ramsay","tag-natasha-braier","tag-nicholas-winding-refn","tag-short","tag-swimmer","tag-the-neon-demon","tag-warp-films","post_format-post-format-video"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Lynne Ramsay | Swimmer | Rapporto Confidenziale<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.rapportoconfidenziale.org\/?p=36529\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Lynne Ramsay | Swimmer | Rapporto Confidenziale\" \/>\n<meta property=\"og:description\" content=\"\u00abIn realt\u00e0 l\u2019ho scelta un po\u2019 perch\u00e9 non avevo molti soldi e poi perch\u00e9 ero rimasto sbalordito dal suo lavoro fatto su Swimmer, un corto di Lynne Ramsay. Inoltre, il fatto che sia una donna mi ha fatto subito propendere per lei. \u00c8 stato il mio istinto.\u00bb Sono queste le parole usate da Nicholas Winding Refn, in un&#8217;intervista a Nocturno,\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.rapportoconfidenziale.org\/?p=36529\" \/>\n<meta property=\"og:site_name\" content=\"Rapporto Confidenziale\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/rapportoconfidenziale\" \/>\n<meta property=\"article:author\" content=\"https:\/\/www.facebook.com\/rapportoconfidenziale\" \/>\n<meta property=\"article:published_time\" content=\"2016-06-19T13:03:30+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-06-19T13:11:46+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2016\/06\/swimmer_cover.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1112\" \/>\n\t<meta property=\"og:image:height\" content=\"741\" 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