Apollo 10½: A Space Age Childhood (2022)
Directed by Richard Linklater
A man narrates stories of his life as a 10-year-old boy in 1969 Houston, weaving tales of nostalgia with a fantastical account of a journey to the moon.
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Following Stan’s recruitment, the next 45 minutes are a peek into his childhood drawn literally and figuratively with immaculate detail: Jiffy Pop, Jell-O bowls, dad stealing plywood from a nearby construction site for a ping-pong table, rigging arcade machines, a neighborhood toddler sleeping in the middle of the street, fighting over the TV, Dark Shadows , and that eerie Zager & Evans hit song “In the Year 2525.”
Stan's mind jumps all over the place, and we realize that what we're really seeing is a jumble of memories and perceptions from a grown man who is still a child inside, and whose personal experiences have become fused to the popular culture he consumed (everything from TV's "Dark Shadows" to Dick Cavett interviewing Janis Joplin to Robert Altman's space adventure "Countdown" to the ascendant, Joe Namath-led New York Jets swirl through his account).
Il cite 2001 : L'Odyssée de l'Espace , Les Beatles, Dark Shadows , bref toute une époque, ses mœurs et sa culture.
Un mondo che il protagonista scruta attraverso la televisione, la stessa che gli rimanda le immagini di un numero incredibile di film (La cosa da un altro mondo, Fluido mortale, Radiazioni BX: Distruzione uomo, tra i tanti) e serie tv (Dark Shadows e Bonanza, su tutte).
Writer-director Richard Linklater returns to rotoscoping animation in Apollo 10 1/2: A Space Age Childhood, marking his third time after Waking Life (2001) and A Scanner Darkly (2006).
Richard Linklater lovingly crafts a detailed pop-cultural backdrop for his latest picture, a return to rotoscope animation techniques that he explored in Waking Life and A Scanner Darkly .
In his third animated venture following “Walking Life” and “A Scanner Darkly”: “Apollo 10½: A Space Age Childhood,” an inventive and picturesque time capsule loosely adapted from the director’s own memories growing up in his small Texas community, blends facts with fiction.
With a similar animation style to what he used with A Scanner Darkly, Linklater uses his new film to explore growing up as well as his own life in 1960s Houston, against the backdrop of the space race.
Those are all just some of the icing on a gorgeous cake that is Linklater’s triumphant return to animation — his first work in the medium since A Scanner Darkly in 2006.
It’s a dream, much like Linklater’s previous rotoscoped films Waking Life and A Scanner Darkly , though here it’s less overtly operating on the former’s dream logic or the latter’s drug-induced paranoia.
The space stuff ties in well with the film’s focus on those times, while it also — shades of Damien Chazelle’s First Man — takes a brief moment to recognize the “Whitey’s on the moon” viewpoint on the moon launch.
Lo si è fatto in molti modi: dal film cult che affronta i teen drama in Stand by Me di Rob Reiner (1982), dai toni leggeri da commedia americana in Mean Girls di Mark Waters del 2004 fino ad arrivare alla favola grottesca e satirica sul nazismo di JoJo Rabbit di Taika Waititi del 2019.