In the long list of Alien sequels, remakes and reboots, between a Prometheus and a “cloning”, Aglien of Piombino Andrea Camerini does not look bad at all. Yes, you read that correctly. Aglien, with the “g” forming in the most classic of the opening titles of the saga between the “a” and the “l”. This is (perhaps) the first, willing, insane, and highly recommended parodic attempt of the famous title (and saga) conceived by Ridley Scott. Everything follows the original matrix of 1979, a bit like the recycled “package” of Alien: Covenant: the crew with precise cultural-social connotations, the beautiful and masculine Ripley who becomes Ripli (Valeria Barreca to report immediately to the Italian mainstream for versatility, irony and charm), the unexpected deviation on the planet that sends signals of life, but above all the alien monster, that horrendous octopus that sticks on the face of the unfortunate and invades the mother ship ( here and there Nostronzo, so to speak), taken up with authentic Rambaldian mastery of the beginnings. Camerini does everything, from directing to editing, but above all he builds special effects and sets. And it is here that Aglien surpasses any superficial B movie archetype in rigor and imagination. There where car front a Ed Wood Jr. he used what he found on the fly (let’s make the curtains on the portholes of the spaceship) here Camerini simply creates from scratch. And one senses that the work besides having its own verisimilitude – the original aliens and spaceship interiors –he also has a very personal sense of devotion and quotation, of craftsmanship and genius (Camerini is an appreciated designer of The Vernacoliere, and invented the famous Troio character). The set reconstructed in the cellar of the parents’ restaurant in Baratti (Li) with the “white” room where the crew eats, the four corridors, all pipes and objects on the surrounding walls, complete with a hatch that opens with a pulley, are for Camerini the stylized and credible compendium of the creation of the “monster”: polystyrene worked with a simple cutter, modeled with a hot drill and silicone; sharp teeth in wood and plastic then waterproof latex and mephitic coloring; scuba diving costume and fused foam for the body of the alien.
Camerini parodies the text and main characters of Alien in a linguistic toscaneria which clearly abounds in puns and vulgar jokes, while guaranteeing particular regard to Ripli and Captain Dallas (a Lombard, practical and apt Gianluca Beretta), and mitigating the redundancy of some catchphrases in a direction that knows how to create what is needed in the cinema genre: rhythm and organicity of the narrated. In fact, the fact that Aglien is “homemade” does not seem so ridiculous and obvious, especially when the domino effect that mows down the crew members thins out the surrounding figures (there is also the Chiambrettiana Sylvie Lubamba as Porker) and the viewer automatically remains clinging to the most classic of the crescendo endings. “My relationship with Ridley Scott should be psychoanalyzed. Except we’re friends on Facebook… Aglien is a serious film. It’s an alternate version for people like me who love the real Alien and have seen it a hundred times. I have a lot of respect for parodies, but this film is an act of love, ”the director explained to Movieplayer.it. Aglien is available from May 5, 2017 on DVD, thanks to Federal Video / Cg Entertainment, and was born as a web series with episodes of 5 minutes each since 2012. Produced by Grezzofilmforge from which short parodies / commercials such as Scianing and Breivart were born.