immensity. Emanuele Crialese appears on the first television Monday, August 21 at 9:15 pm on Sky Cinema Uno (and also at 9:45 pm on Sky Cinema Drama), streaming NOW and available on demand..
This is the most personal work of an Italian director born biologically as a woman and then through a long process of transition as a man. Eleven years after the movie EarthDirector Emanuele Crialese is back in competition at the Venice Film Festival with the story of Adriana, a twelve-year-old girl from 1970s Rome who wants to be called Andrea, turns into a litmus test of a difficult and painful experience as a director born in Italy in 1965 and his desire for change and revival. Of course, the film is not a simple autobiography. It’s a pop-music journey into the ancient imagination of a land where it was impossible to even hypothesize gender reassignment.
Emanuele Crialese tells his story
To paraphrase the famous phrase allegedly uttered by Gustave Flaubert in connection with his novel Madame Bovary:Adriana, it’s me!young protagonist immensityIn fact, this is a kind of alter ego of Emanuele Crialese, by the director’s own admission: “This is a character inspired by my childhood, my story, transformed. Biologically, I was born a woman. I will never be like another man.” , but that doesn’t mean that I don’t have that feminine part, which I think is also the best part of me as a man. I am who I am, and I retain both polarities.”
Not surprisingly, the film begins with Adriana sitting on the terrace of her house, waiting in vain for a signal from space. A little girl in a red leather jacket, with a sheriff’s star on her chest and the pain of feeling like a stranger. Meanwhile, an Amaro Cora commercial is playing on TV, “parrots” are mocking beautiful ladies on the streets of the Eternal City, and a Fiat Cinquecento is going crazy on the streets of Rome. Nietzsche said that through music the passions are gratified. And, perhaps, the only space where the main character can present herself the way she wants is a musical variety show. Milleluchy, dates back to 1973. In particular, the cult duet of Adriano Celentano and Raffaella Carra performed the song “Prisencolinensinainciusol”. But “Raffa” with her infectious “jeu liveis a kind of patron deity for the entire film. Just think of the mythical Noisethe soundtrack to a vibrant home episode set in the kitchen between plates and tablecloths.
Crialese in Venice with L’immensità: “My story in a poetic way”
Penelope Cruz, between Raffaella Carra and Johnny Dorelli
IN immensity it does not negate the feminine polarity. After all, quoting the poems of the poet Laforgue, “women will save the world.” Crialese did not accidentally choose Penelope Cruz to play the role of Adriana’s mother. It’s impossible not to admire this character, who utters phrases such as “I’m not afraid of children’s fantasies, but the fantasies of adults who still think they are children.” A victim of domestic abuse by an unfaithful husband as well as father Master, the Spanish star is one of the few actresses in the world who can showcase a Carra blonde bob or Patty Pravo bouffant without being a faded photocopy. And the idea of this black and white curtain gives immensity the freshness, the modest richness needed to tell an equally sad and bitter story. Not surprisingly, the opera ends with Adriana in a tuxedo and bow tie singing a hit by Johnny Dorelli.Witha va sans dire, in black and white, because, as Samuel Fuller said, “life is in color, but black and white is more realistic.” And the reality for Adriana is to perceive herself as Andrea.
Penelope Cruz, the mother side has always belonged to me