Matilda De Angelis, born September 11, 1995 in Bologna in the Emilia-Romagna region of Italy, is an Italian actress and singer.
Born September 11, 1985 (Bologna – Italy)
Age 35 years old
Matilda De Angelis was born in Bologna in 1995. During her youth, she studied guitar and violin and composed songs. At the age of seventeen, she became the singer of the group Rumba De Bodas. Together, they released an album in 2014, Karnaval Fou.
As an actress, she debuted in 2015 on television in the Italian series Tutto può succedere by Lucio Pellegrini (it), the Italian remake of the American series Parenthood itself inspired by the comedy Spitting portrait of a model family (Parenthood) directed by Ron Howard in 1989. She plays the role of Ambra, a young girl in perpetual conflict with her mother, Sara, played by Maya Sansa. In this series, his brother Tobia De Angelis plays the role of Dennis, the second child of the family.
In 2016, she made her film debut in the drama Veloce come il vento by Matteo Rovere. In this film loosely inspired by the life of rally driver Carlo Capone, she plays the role of a young driver who after the death of her father must fight to save what remains of her family from debt and expulsion. To do this, she must win the GT Championship and team up with her brother, Loris (Stefano Accorsi), a former prospect who has fallen into drugs. For this role, she notably received the Guglielmo Biraghi Prize and the Flaiano Prize for Best New Actress, as well as a David di Donatello nomination for Best Actress.
The same year, she appeared in the music video for the single Tutto which featured Italian pop group Negramaro with actor Alessandro Borghi.
In 2017, she played a secondary role in the drama Una famiglia by Sebastiano Riso alongside Micaela Ramazzotti and Patrick Bruel and another secondary role in the comedy Il premio by and with Alessandro Gassman. The following year, she starred in the drama Youtopia by Bernardo Carboni (it), with partners Donatella Finocchiaro, Alessandro Haber and Pamela Villoresi. She also co-stars the comedy Una vita spericolata by Marco Ponti (it) with Lorenzo Richelmy and Eugenio Franceschini (it).
“The Undoing”, when a wealthy family goes through the rolling mill of decline.
The mini-series “The Undoing” broadcast by RTS is a good illustration of the popular wisdom which claims that money does not buy happiness. HBO, which has been turning up the heat since this spring, offers Nicole Kidman her place at the Musée Grévin.
The title of this mini-series is quite complex to translate, as there is no equivalent word in French. In English, “undoing”, both verb and substantive, is quite polysemous. It goes in the nature of something that comes undoing, undoing, erasing, see the famous “undo”, ctrl or cmd-Z, which we practice on the keyboards of our computers. There is also this notion of wanting to repair, for example an unpleasant or even catastrophic situation in which we find ourselves. Finally, “undoing” still supposes the idea of loss, of ruin.
From big to small screen and back
Nicole Kidman is a rather active film actress in the world of series. It starts in 2017 in the second season of Jane Campion’s series “Top of the Lake”, with Elisabeth Moss. The same year released “Big Little Lies”, which we saw on RTS One in particular. Nicole Kidman plays there a mother of two little boys whose daddy is not exactly a nice boy. Neither with her, nor with other women … The second season of “Big Little Lies”, released in 2019, still with Nicole Kidman, is a little less convincing than the first. And here comes “The Undoing” in 2020.
Always a mother, from one husband to the other
Nicole Kidman once again plays the role of a mother accompanied once again by a toxic husband, admittedly less violent, but not a gift either. In the role of the husband no gift, Hugh Grant, very convincing in this role against employment far from “Love at first sight in Notting Hill” and other “Bridget Jones”.
Grace and Jonathan Fraser (Nicole Kidman and Hugh Grant) are a wealthy New York couple. She is a shrink, specializing in couples therapy. He is a children’s oncologist, renowned not only for his talents as a doctor but also for providing kind support to his young patients and their families. Twelve-year-old son Henry (Noah Jupe) is a gifted and disciplined student. The Fraser family, highly respected in their upscale social circle, is a bit of the dream life of a happy family that succeeds, a situation perfectly calibrated to have passed through the rolling mill of decline.
From Charybdis to Scylla
Jonathan Fraser cared for Miguel (Edan Alexander), a young boy who attends the same high-end private school as his son Henry. Elena (Matilda De Angelis), Miguel’s mother, is an artist who has just given birth to a baby girl. She meets Grace while preparing for the traditional fundraising evening supposed to provide the necessary financial foundation for their offspring’s school.
This very attractive young woman will become so very quickly much less, her son finding her mortally disfigured with hammer blows. That’s when the good Doctor Fraser disappears. Supposed to attend an oncology conference outside of New York, he is obviously not there. His wife Grace will then go from discovery to disillusionment, supported by her son who will take on the role of the voice of reason, almost parental. Mother and son take refuge with Grace’s extremely wealthy dad, Franklin Reinhardt (Donald Sutherland).
Varnish and botox do not hide emptiness
This social painting of upscale society is significantly less successful than that of “Big Little Lies”, to the point that it emanates from the puny scenario and agreed to smell of warmth. Yet it is the same screenwriter, David Kelley. The lack of surprise and psychological depth leaves us on the surface, like the staging, licked, which offers only a rather empty aesthetic. Fortunately, let us repeat, the performances of the actors seduce.
However, the shoe pinch on Nicole Kidman’s side. Relegated by the screenplay to the rank of fashion engraving, even if the actress claims to have never had cosmetic surgery, her face freezes more and more to the point of having almost only one expression left. whatever the feeling he is trying to convey. The corners of the actress are more and more ravaged, heralding a future Kim Novak facial. Ugly.
Get rid of “The Undoing”?
If we were to drown in an avalanche of good heats, which is far from being the case, we could eventually skip “The Undoing”. And while I have reservations, the series is still far from zero. I was able, like my sisters and brothers, to see five of the six episodes: after the cliffhanger at the end of the fifth, I would be lying to you if I pretended not to be impatient to watch the last one!