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"Boris" on Netflix, 10 years later the drama in Italy is still "to fucking dog"

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"Boris" su Netflix, 10 anni dopo la fiction in Italia è ancora "a cazzo di cane"


"Boris", la serie cult trasmessa su Fox tra il e il , ritorna su Netflix a partire dal . Un'occasione d'oro per recuperare o rivedere una produzione unica nel suo genere che, a quasi dieci anni dalla prima puntata, è ancora tragicomicamente attuale.



"Boris", la serie cult trasmessa su Fox tra il e il , ritorna su Netflix a partire dal . Tutte e tre le stagioni saranno immediatamente disponibili sulla internet tv insieme a tutti gli altri contenuti originali, da "Daredevil" a "Better call Saul", da "Orange is the new black" a "Bloodline", per la gioia dei fan di una serie che è stata in grado per tre stagioni di dire tutto quello che si è sempre pensato sulla fiction italiana: sciatta, asservita, approssimativa, clientelare e scadente. E lo ha fatto con grande sorpresa di chi, ritrovandosi nel ad apprezzarla per la prima volta, guardava le invettive di René Ferretti, il regista della serie fittizia "Gli occhi del cuore 2", i capricci di Stanis, il divo primo attore, la cagna maledetta Corinna e il modo di lavorare "a cazzo di cane" di tutta la produzione, come qualcosa di liberatorio e allo stesso tempo di anormale e di lontano dall'appiattimento di contenuti che, ancora adesso a 10 anni dalla prima puntata, impera in tv.


Così, mentre oggi si leggeva dei dati di Critica Liberale presentati alla Camera dei Deputati circa lo spazio che la Chiesa Cattolica occupa sulla tv generalista, dalle notizie dei tg alle produzioni seriali come "Don Matteo", non si poteva fare a meno di pensare a quel "Ma Giulia...", la sequenza che vede René Ferretti costretto a montare una puntata de "Gli occhi del cuore 2" in modo da non far passare un messaggio pro-aborto. Ecco "Boris" è questo: la coscienza di vivere in un paese che proprio non ce la fa ad abbracciare il cambiamento, a fare le cose per intero e non a metà (vedi il pasticcio delle unioni civili), un modus vivendi ed operandi che condiziona giocoforza soprattutto la produzione televisiva. A distanza di 10 anni, è cambiato poco o nulla nella fiction italiana generalista.


La trama di Boris


"Boris" è una critica feroce, netta a questi ambienti della tv in cui la meritocrazia latita e le velleità artistiche si trasformano negli incubi più feroci, colpevole una troupe di inetti e una dirigenza che assume e licenzia solo in base a logiche di potere. Tutto è visto dagli occhi di Alessandro (Alessandro Tiberi), il giovane stagista che seguiamo sin dalla prima puntata nel popoloso mondo del "dietro le quinte" de "Gli occhi del cuore 2": con il regista René e i due attori Stanis La Rochelle (Pietro Sermonti) e Corinna Negri (Carolina Crescentini), ci sono Arianna, l'assistente di scena interpretata da Caterina Guzzanti, Itala (Roberta Fiorentini), la segretaria di edizione, Sergio (Alberto Di Stasio), il direttore di produzione e Lopez (Antonio Catania), il delegato di rete. Menzione a parte per il direttore della fotografia Duccio Patané (Ninni Bruschetta) e il capo elettricista Biascica (Paolo Calabresi), entrambi fieri Totò e Peppino del dolce far nulla.


La luce "smarmellata" e il cameo di Paolo Sorrentino


Un passaggio chiave, tra le tante trovate dell'universo di "Boris", è la teoria della fotografia di una fiction di Duccio Patané, il quale sostiene che deve necessariamente essere brutta perché, se fosse migliore di quella delle pubblicità, la gente cambierebbe canale. Da qui la scelta di una luce "smarmellata" ovvero sovraesposta, una luce che viene scelta anche da Paolo Sorrentino, protagonista di un cameo indimenticabile nella parte di se stesso, quando si offre di girare una puntata de "Gli occhi del cuore 2" al solo scopo di ammazzare definitivamente "questa serie di merda".

"Boris" on Netflix, 10 years later the drama in Italy is still "messily"


"Boris", the cult series aired on Fox between and , returns on Netflix starting from . A golden chance to retrieve or to review a unique production in its kind that, after almost ten years after the first episode, it's still tragicomically actual.



"Boris", the cult series aired on Fox between and , returns on Netflix starting from . All and three seasons will be immediately available on the internet tv along with all the others original contents, from "Daredevil" to "Better call Saul", from "Orange is the new black" to "Bloodline", for the joy of the fans of a series that has been able for three seasons to tell everything that has always been thought about the Italian drama: sloppy, enslaved, rough, patronage and poor. And it has done so with great surprise of those, who appreciated it in for the first time, watched the invectives of René Ferretti, the director of the fictitious series "Gli occhi del cuore 2" (The eyes of the heart 2), the whims of Stanis, the star leading man, the damned bitch Corinna and the way of working "messily" of the whole production, as something liberating and at the same time of abnormal and of distant by the flattening of contents that, even now 10 years after the first episode, reigns on TV.


So, while today it could be read about the data of Critica Liberale (Liberal Criticism) presented into the Camera dei Deputati (Chamber of Deputies) about the space that the Catholic Church occupies on the generalist TV, by the news of the newscasts to the serial productions as "Don Matteo" (Father Matteo), it could not to do without to think about that "But Giulia...", the sequence in which René Ferretti is forced to mount an episode of "Gli occhi del cuore 2" (The eyes of the heart 2) so as not to make pass a pro-abortion message. Here "Boris" is this: the consciousness of living in a country that just can not to embrace the change, to do things in full and not in half (see the mess of the civil unions), a modus vivendi (way of living) and operandi (way of operating) which inevitably affects especially the televisive production. 10 years later, little or nothing is changed in the generalist Italian drama.


The plot of Boris


"Boris" is a fierce critique, clear to these tv environments in which the meritocracy is absent and the artistic ambitions are transformed in the most ferocious nightmares, guilty a troupe of inepts and an executive who hires and fires only based on the logics of power. Everything is seen through the eyes of Alessandro (Alessandro Tiberi), the young intern that we follow since the first episode in the crowded world of the "behind the scenes" of "Gli occhi del cuore 2" (The eyes of the heart 2): with the director René and the two actors Stanis La Rochelle (Pietro Sermonti) and Corinna Negri (Carolina Crescentini), there are Arianna, the first assistant director played by Caterina Guzzanti, Itala (Roberta Fiorentini), the script supervisor, Sergio (Alberto Di Stasio), the director of production and Lopez (Antonio Catania), the delegate of network. Special mention for the director of photography Duccio Patané (Ninni Bruschetta) and the chief electrician Biascica (Paolo Calabresi), both proud Totò and Peppino of the sweet doing nothing.


The "smarmellata" (opened) light and the cameo of Paolo Sorrentino


A key passage, among the many ideas of the universe of "Boris", is the theory of the photography of a drama by Duccio Patané, who claims that it must necessarily be bad because, if it was better than the ones of the advertisings, people would change the channel. Hence the choice of an "smarmellata" (opened) light namely overexposed, a light that is also chosen by Paolo Sorrentino, protagonist of an unforgettable cameo in the role of himself, when he offers to shoot an episode of "Gli occhi del cuore 2" (The eyes of the heart 2) solely in order to permanently kill "this shit series".

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