Annamaria Elia

Ecocinema e cli-fi: dal racconto della catastrofe alla commedia nera

Introduction

Ecocinema e cli-fi: dal racconto della catastrofe alla commedia nera . Esplora ecocinema e cli-fi, dal racconto catastrofico del cambiamento climatico alla commedia nera. Analizza problematiche etiche e l'uso dell'ironia in film come Don't Look Up e Siccità.

Abstract

Gli ultimi anni hanno registrato l’aumento di pubblicazioni di testi narrativi che affrontano il tema del cambiamento climatico, cui generalmente ci si riferisce con il termine di “cli-fi”. Tale fenomeno ha interessato anche la produzione cinematografica, che si è concentrata specialmente nella produzione di film di stampo catastrofico e apocalittico, e di cui il film di Roland Emmerich, The Day After Tomorrow (2004), si fa rappresentante. L’obiettivo dell’articolo è quello di mostrare le problematiche etiche legate a tale modalità narrativa contrapponendole le forme del dramma, della satira e della commedia, che si analizzeranno in riferimento a due casi di studio: Don’t Look Up, del regista statunitense Adam McKay (2021) e, allargando la prospettiva in ottica comparata al contesto cinematografico italiano, Siccità (2022), del regista italiano Paolo Virzì. Al centro dell’argomentazione vi sarà, infine, il concetto di ironia.

Review

The submitted article, "Ecocinema e cli-fi: dal racconto della catastrofe alla commedia nera," proposes a timely and critical examination of cinematic representations of climate change. The abstract effectively highlights the increasing prevalence of "cli-fi" narratives in recent years, particularly in film, which has often gravitated towards catastrophic and apocalyptic depictions exemplified by works like *The Day After Tomorrow*. The paper's central premise, to trace and critically analyze a potential shift from these purely disaster-centric narratives towards more nuanced and complex forms, such as black comedy, is particularly relevant in contemporary climate discourse. The article's stated objective is to meticulously demonstrate the ethical issues inherent in a solely catastrophic narrative approach, contrasting these with the expressive potential of drama, satire, and comedy. To achieve this, the author plans to analyze two compelling case studies: Adam McKay's *Don’t Look Up* (2021) and Paolo Virzì's *Siccità* (2022). This comparative perspective, extending from US cinema to the Italian context, promises a rich cross-cultural analysis of how different filmmaking traditions engage with cli-fi themes. Crucially, the abstract identifies "irony" as the core analytical concept, suggesting a sophisticated theoretical framework for understanding these emerging narrative strategies. This paper offers a valuable contribution to ecocritical film studies and the broader discourse surrounding climate communication. By moving beyond a simple categorization of cli-fi, and instead focusing on the ethical implications of narrative choices and the power of genres like satire and black comedy, the article has the potential to deepen our understanding of how cinema can effectively engage audiences with the complexities of climate change. The proposed analysis of specific, recent films through the lens of irony should provide fresh insights into the evolving landscape of ecocinema, suggesting new avenues for depicting environmental crises in ways that are both impactful and critically resonant.

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