There Hag it is an entirely Italic tradition. And taking it to the cinema is also becoming part of our cultural fabric. At least that’s what has been happening for three years now, when in 2018 the director Michele Soavi brought to the room for the first time The Befana comes at night starring Paola Cortellesi – which we talked about in our review of La Befana vien di Notte. History that, in truth, all starts with its creators Nicola Guaglianone And Menottiscreenwriters who in the figure of this elderly woman riding a broom saw the possibility of being able to outline a story for a very homegrown heroine, who would face the bad guys and carry out her mission of happiness just like one of the many protagonists of cinecomics.
It is in fact the writing duo to return for a sequel entrusted to the direction of Paola Randi , who wants to go to the roots, at the beginning of this full-time Befana job. Guaglianone and Menotti therefore get back to work for a backstory exploring the prophecy of an announced witch able to take care of all the children of the world, silence the wicked and care above all else for the joy of others. It is therefore starting from a totally opposite protagonist that the screenwriters outline the plot of La Befana comes at Night 2 – The originscalling the web star to report this time Zoe Massentihis mentor Monica Bellucci and the bad Fabio De Luigi.
La Befana vine by Night 2 – The origins: between fantasy and perplexity
The film comes to life in the 18th century, where the very young Paola (Zoe Massenti) alternates between thefts, cheating and misdeeds. The girl lives alone, accompanied only by an equally mistreated companion in adventures with whom she tries to carry out her blows.
But things will change for Paola when her path will cross with that of Baron De Michelis (Fabio De Luigi), who will accuse her of acts of witchcraft that will force her to flee and hide. To give her shelter, however, will be a holder of the magical arts: Dolores (Monica Bellucci), a lovable witch intent on taking care of all the orphans in the country and waiting for the arrival of a miracle that could soon take place. Just like her predecessor, whose story was in that case inserted in the contemporary world, too La Befana comes at Night 2 – The origins has a clear reference to a cinema primarily focused on families, which seeks an outlet in sharing during the holidays to reach the cinema and the public. Although with top names such as Fabio De Luigi and the curiosity to see Monica Bellucci in clothes that usually do not belong to her, it is certainly to be taken into consideration. the lack of strong towing within the story, contrary to what happened previously with Cortellesi.
A true darling of Italian spectators capable of recalling a consensus and unanimous welcome, the absence of which probably affects even more the construction of the work itself which, this time, while making use of good interpretations it does not reach the peaks of the past.
But the perplexities aroused by La Befana comes at Night 2 – The origins they are actually more intrinsic, part of a novel than it never really takes flight as it does to its protagonist, continuing to address primarily a very specific audience, which can only notice the frictions and frictions that the film often provokes. Unnecessarily expanded in its structure, opening up narrative paths that seem infinite and closing them one by one, forcing the film to seem constantly about to finish, to find it a second later ready to continue, the work plays with a childhood that is certainly his strong pointbut which is pulled almost to see it tattered on the screen.
A sweet too sugary
The atmospheres are rightly childish. But if at times this component is precisely the key to the success of the film, at others it drags it into territories where an excessive effort of imagination and understanding is required from the public.
A suspension of disbelief to which the spectator is willing, but in which it can only distance itself when the demand becomes too much, ending up gradually leaving the story of the Befana while continuing to appreciate its light and carefree air. In a very strong reference to another work by the screenwriter Nicola Guaglianone such as the unicum Freaks Out – which we loved as you can read in our review Freaks Out-, making us twirl halfway between spells and traditionLa Befana vien di Notte 2 – The origins is a good but extremely sugary sweet. One of those that you like to eat, but that could easily fill. A family movie who knows himself, but has not been able to put the brakes on. Because basically that’s what you don’t have to do with wonder, but which is just as necessary when you want to create real magic in the cinema.