The Eye of the Hen is the cinematic self-portrait of director Antonietta De Lillo, relegated to the margins of the film industry after a legal dispute over the distribution of her most successful film, which could have established her in the mainstream. The story of the protagonist’s public and private life, through interviews, reconstructions, and personal, cinematographic, and television archives, shows the difficulties of going against the tide and the creativity and resilience needed to reinvent oneself with the means at one’s disposal. The film is a narrative that suggests methods to overcome isolation isolation by celebrating cinema in its communal, cultural, and political role.
Edito da CecchiGori Enterteinment, esce in DVD Metamorfosi Napoletane. Metamorfosi Napoletane è l’unione del primo ritratto realizzato da Antonietta De Lillo nel 1993, Promessi Sposi, e del suo ritratto più recente, Il Signor Rotpeter, presentato alla 74° Mostra Internazionale d’Arte Cinematografica di Venezia. Due conversazioni profondamente diverse, una con personaggi realmente esistenti e una con un personaggio inventato, ma unite dalla necessità dei loro protagonisti di effettuare una trasformazione radicale su se stessi, una metamorfosi.
Chi sono gli zombi? Gli uomini di potere. Lucio Fulci
Sinossi
FULCI TALKS conversazione uncut con Lucio Fulci è una cavalcata attraverso tutto il cinema del maestro “terrorista del genere”, dalla commedia al thriller, dagli spaghetti western all’horror, e un viaggio nel cinema italiano e internazionale che ha conosciuto, amato e a volte anche criticato senza peli sulla lingua.
Antonietta De Lillo, a 30 anni di distanza dalla lunga intervista a Lucio Fulci curata insieme al critico Marcello Garofalo, riporta alla luce questo materiale raro e prezioso e realizza il ritratto inedito di un grande e raffinato artigiano del cinema nel momento in cui vede finalmente la critica riconoscere alle sue pellicole lo status di film cult, che diventeranno punti di riferimento per un’intera generazione di registi e spettatori.
–
O’cinema, as we used to say euphorically when we were kids. Each time it was an encounter with unbridled fantasy that gave us the possibility of travelling full speed through all the worlds of possibility.”
Enzo Moscato
A young Neapolitan takes a walk through his city. He gazes at the people as well as the things about him with curiosity and transfigures them, at times drawing us into the personal, at times the cinematographic, world of imagination. The evocative power of sounds, visual impressions and old film clips come together in this journey into the heart of Naples. The union of reality and fantasy is a pretext for reassembling the fragments of the history of a city and its wonderful cinema.
Today Together, Tomorrow Too is a compositionof faces, places and stories collected by different directors throughout Italy. OIDA – participated film conceived and curated by Antonietta De Lillo – composes a portrait of love at our times through fragments of different materials – documentaries, investigations, animations and found footage.
The casualness and the normalcy of the stories that we can see in this documentary are the key to express the most elusive of all feelings – love. The result is a complex image, that represents the density of our relationships in this moment of crisis and social transformations in which we live.
Forty years have gone by since the Italian referendum on divorce and Pier Paolo Pasolini’s Love Meetings. Today Together, Tomorrow Too investigates the feeling of love portraying the changes in our country – the breakdown of marriage and traditional family values, the human and economic crisis, the lack of work, the change of sexual behaviour, the bio-technologic revolution, the growth of immigration and the difficulty in confronting cultures that are different from our own.
We chose to startfrom the darkest aspects of love -abandonment, intolerance, violence and hate. Through the street interviews and the stories collected by the directors that participated in the project, we will meet couples who have been together all their lives and people who have never met love, along withthe those who have to cope with the harsh feelings that usually follow a breakup. Traditional families, enlarged families, exploded families, recomposed families, new balances made of people who are willing to stay together even after their stories are over. Different forms of love, sometimes more fragile, sometimes more powerful and free go togetherwith the vision of the youngest people interviewed, who search for an absolute pure and true love that might be free of social judgement and of conditioning based on age, culture and gender.
The participated film by marechiarofilm shows love in its widest form, meaning not only a relationship between two people, but also the love of parents for their children, love towards strangers and love as an opportunity to elevate ourselves beyond ourselves, our selfishness and our fears. It is a confirmation that in our selfish society more and more concentrated on cynic and individualistic models, love is still the most powerful energy moving things and is often the best antidote to our solitude.
The story of Luca is that of a 46 year-old photographer who has been forced to retire from life and love; it is also the story of many other people overwhelmed by isolation and the economic emergency. But Luca is also an artist who has begun writing a letter addressed both to an ideal love as well as to us all. He guides us in a cosmopolitan journey through experiences that are often more arduous than his and recounts the story of a person who is determined to carry on without anger while struggling not to be overcome by the events.
conversation with Alda Merini
Alda Merini tells her life in a personal and familiar narrative, fluctuating between public and private, lingering on the most significant chapters of her existence: childhood, womanhood, love, maternity and the relationship with her children, madness and the lucid reflection on poetry and art. The face of the poetess and the details of her eyes, hands, and body create a portrait that does not hide the contradictions of one of the most important and renowned literary figures of the twentieth century.
Director’s statement
Ever since i made Ogni sedia ha il suo rumore in 1995, i have always wanted to retrieve the precious unused footage from the encounter with Alda Merini. At the time, that material was entwined with Licia Maglietta’s performance, inevitably cutting out parts of the conversation with Alda Merini. This footage was recovered almost twenty years later thanks to the collaboration of Rai Cinema, becoming The crazy woman next-door, which restores that extraordinary encounter in its entirety
Antonietta De Lillo
Death belongs to us and its concept must go back to the very core of life.
The film is divided into three episodes in which a struggle with death is represented in different ways. In the first episode, entitled Holes of Love (Pozzi d’amore), the protagonist Enzo Moscato recites a sort of theatrical monologue. A long tale in which he speaks about the fear of an imminent death and the anguish related to the forthcoming separation from a beloved one. On the contrary, in the second episode, Upper Left Corner (In alto a sinistra) a young man meditates upon his father’s death. He recalls how his father had suffered during his terminal illness and, precisely in the name of that reminiscence, he can finally overcome the lacerating pain that accompanied his solitude.
In the last episode, Vittoria’s Tales (Racconti di Vittoria), oncologist Vittoria has contracted cancer, and from within the disease, she encourages her patients with great courage and dignity to fight for their lives. The leitmotiv of the film, suffering and death, is viewed from three different perspectives: the theatre, literature and television. The aim of the film is to exorcize death with a myth in the first episode, to ritualize it in the second and finally in the last case, to contend with death by looking it straight in the face.
The love story of a couple in which he had been a she.
A testimony of the force of love that binds two people, a present-day betrothed couple.
The narration proceeds as a thriller in which the two protagonists conceal a mystery: visible traces, scars on an arm, details that worm their way into the story until the enigma is revealed. He had previously been a she.
A contemporary metamorphosis made possible by their love.
In a c minor trio, a viola d’amore, a cello and a violin are capable of grasping the unforseeable from life and still play with its possibilities.
Giovanni (Luigi Pistilli) a womanizer enamoured of life, Teo (Riccardo Cucciola) an old school chum and meticulous collection of watches, and Maria (Marina Vlady) a childhood sweetheart, always ready to help her fellow compatriots in Italy, inherit an apartment in Rome. After an arduous beginning, this casual cohabitation brings new energies to the lives of all three. The sudden death of one of them puts the surviving two in a quandary: should they cancel this experience and go back to the dreariness of their destinies, or rather continue on the path they have embarked upon towards a future together?
- 1
- 2