Cinema, the illustrated and dark Pinocchio by Matteo Garrone

And then horror-like images of the Pinocchio-donkey thrown into the sea with a lot of boulder as ballast.

And the humans in this film wanted by Garrone since he was six? There is, above all, Roberto Benigni in the shoes of a credible Geppetto, carpenter and father without his knowledge just like Giuseppe of Nazareth. And again on the human front, at least in appearance, we find the Fairy (Alida Bardari Calabria and Marine Vacht as an adult), Massimiliano Gallo in the role of the director of the Circus and an extraordinary Gigi Proietti in those of Mangiafuoco.

Philologically respectful of the text of Collodi's fable of 1883, Garrone's "Pinocchio" starts off slowly, but then recovers as much as the fable becomes fantasy and relies on images. And it must be said that the signature of Garrone, who once again does not deny his training as a painter, should be added that of Mark Coulier, a British artist and expert on prosthetic makeup who has two Oscars and films like Harry Potter, X- Men and The Mummy Returns, The Iron Lady and Grand Budapest Hotel. His masks of the Cat (Rocco Papaleo), the Volpe (Massimo Ceccherini) and the Grillo Parlante (Davide Marotta) and, obviously, that of the protagonist Pinocchio with various wooden silicone prostheses to make Federico Ielapi a credible wireless puppet, but obviously very often too woody.

Garrone's pictorial references? The original illustrator of the book Enrico Mazzanti, Florentine engineer and designer, the Macchiaioli and perhaps, but only a little: "The images of Tim Burton who is a reference director of mine".