It was not very beautiful there, it was not very well done. I saw a little bit of it at the Pompidou Centre. So it was a long process for me to get money for the film, even though it’s not an expensive film: the budget was about 1.3 million euros.Īnd so last year I did a 101-hour film for Documenta in Kassel, The Three Little Pigs. If you just add two or three big name actors to the production, or make the film a bit shorter, or add a bit more narrative, everything becomes much easier. I have none of the attributes they are looking for.
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I make radical films that are long, often very dark, and without any professional actors, so getting financing for my films is tough. I had some commissions from the art world which, at the beginning, I was not very interested in, but nowadays financing films is getting more complex, especially for me, because I don’t have anything that appeals to financers. Given that you hadn’t made a feature for five years, what was the process that led you up to Story of My Death ? In spite of the director’s idiosyncratic English and the circular nature of some of the discussion, there seems little sense in tampering with his comments, so what follows is close to a direct transcription of the conversation, as it unfurled on the seventh floor of the Vienna Hilton.īefore watching your film, I was concerned that you might have something a little like “second album syndrome”, like rock bands who make their breakout album, and then their second album has so much expectation attached to it that the work can often suffer. As luck would have it, the interview I had scheduled with Serra the following day was the last on his agenda, and the 30-minute slot that had been granted to me ballooned out to a free-wheeling dialogue lasting well over an hour. In fact, there was no need to worry: the film is a triumph, as stimulating, unbridled and provocative as its predecessors. Would this shift end up having a corrosive effect on his long-awaited third feature, which, clocking in at 150 minutes, notably includes Casanova and Dracula as its two protagonists? My fears were only compounded by the mixed critical reviews The Story of My Death had garnered since its premiere at Locarno (although Serra’s work has never been to everyone’s tastes). After quickly gaining notoriety as an enfant terrible of the festival circuit in the wake of his first two films – Honor de cavalleria (2006) and El cant des ocells ( Birdsong, 2008) – Serra’s more recent work has mainly been within gallery environments.
She possesses an excellent vocal instrument and her voice is lyrical, dramatic and emotionally engaging … Marina Ogii is a Lola imbued with charm and sensuality, with a warm and cleverly projected voice … Elena Zilio is a well-centered and engaging Mamma Lucia, with a magnetic stage presence and an incredible expressive talent… Lorenzo Fratini is at the head of the chorus which provides excellent and powerful contributions to the performance.” ()Īudio Format: PCM 2.0 – Dolby digital 5.It was with some trepidation that I watched Catalonian director Albert Serra’s Historia de la meva mort ( The Story of My Death) at this year’s Viennale. Thanks to his warm and fiery voice, the Italian tenor adds credibility to a complex character, torn between passion and sensitivity… Soprano Alexia Voulgaridou portrays a perfect, melancholic Santuzza. “The star of the show is Angelo Villari, who plays an impeccable Turiddu. Good performance reviews for the whole cast.
Conductor Valerio Galli is at the head of the Orchestra del Maggio Musicale Fiorentino, one of the best in Italy. Directors Di Gangi and Giacomazzi set this traditional Cavalleria in a Sicilian village of the 1940s where the buildings are rather bare and the piazza is the stage for private as well as public drama. It’s a story of love, passion, jealousy and restored honor in bloodshed. Mascagni’s first and most successful work has become an opera classic as it features elements of the Greek tragedy, mixing up religious and archaic elements. Theatre Opera di Firenze / Maggio Musicale Fiorentino