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Venice: Crialese conducts Penelope Cruz. ‘I tell my fluid childhood’ – Culture & Shows

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Venice: Crialese conducts Penelope Cruz.  ‘I tell my fluid childhood’ – Culture & Shows
Written by aquitodovale

– It is the film of life, “I approached the cinema perhaps for this reason, but if I had done it as my first film it would have been very pallid, perhaps didactic, it would have been the story of a poor man who lives the gender crisis, instead I waited, I have awareness and things like these you have to be able to tell them when you know how to talk “. In an interview with ANSA, Emanuele Crialese, in competition today with L’Immosità in Venice 79, third of the five Italians competing, gets excited, speaks with enthusiasm, uses important words such as “rebirth”. It can take a lifetime to tell yourself how you are, “as I have always been, I have no memories of myself other than those, they are not choices, you just have to believe in yourself as you are”.

Venice, on the exhibition ‘L’immensita’ by Emanuele Crialese

He doesn’t want The Immensity to be defined as the film of his coming out, “I’ve always been out! I’m not a rock star, what should people care about, it’s rather a film that concerns me very closely, it tells the my childhood, there is no transformation or transition, it would be disinformation “. Certainly in that memory there is a house from the 70s in one of the neighborhoods under construction in Rome at that time, “identical to mine” and then there are the family dynamics, the joys of dancing Raffaella Carrà’s songs, but above all the pains. “My mother did not know where to turn her head – the director is moved – she hid with me just like in the film, she tried to protect me, but I suffered from the pain I gave her. the e – her birth name in the feminine – and leaving a piece of my body, that was negotiating the condition. I am and am not and I want to stay like this and I hope not to shock anyone. now fortunately times have changed, children are great masters in this, they know how to use new words, gender fluid for example, and they tell us’ male – female are categories, we are what we are, that is human beings before being sexually defined ‘. Today – adds Crialese – there is another company than the one in which I grew up, but we must support the families and not leave them alone as my mother was at the time “. The Rome of the film “is an abstract, metaphysical landscape. For me, who love large open landscapes – continues the director of Respiro and Terraferma – shooting the entire film inside a house seemed impossible to me, however, perhaps because it is the exact reproduction of the mine as a child, I felt good. For a long time I thought: sooner or later I’ll tell this autobiographical story, it’s there, it haunts you, then the time came and everything went as it should go “.

If Vincenzo Amato, the father, was a foregone conclusion, being his fetish actor, that of the mother as well as the adolescent Adriana who refuses her identity were fundamental. “Penelope Cruz is the archetype of woman and mother, she is like the Penelope of Ulysses. She was very generous, the boys on the set saw her as a goddess and she played with them: she was a magic”. In Luana Giuliani, who plays Adriana who wants to be called Andrea, “I have seen myself again”. Their relationship is the heart of the story, “perhaps because the female characters are the ones that really interest me, but the men are a bore!”. Finally, Carrà, a sort of tutelary deity of the Immensity: “The dance scene on the notes of Noise that Penelope does with her boys was filmed on the day when the producer Mario Gianani came to tell us that Raffaella, of whom we were waiting a visit to the set, she was dead, it was a strange synchrony. ” The film, scripted with Francesca Manieri and Vittorio Moroni, produced by Wildside (a company of the Fremantle group) and Warner Bros. Italy with French partners, after the premiere in Venice will be in theaters with Warner from 15 September.

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