Il Sud è niente - Fabio Mollo (wpatrywanie cz. 25)

Mocny i niepokojący debiut Fabio Mollo pokazywany między innymi na Berlinale.
Warto wspomnieć, że reżyser współpracuje tu znów ze scenarzystką Josellą Porto i montażystą Filippo Maria Montemurro, z którymi stworzył w 2007 krótki metraż Giganti, a teraz doprosił też kilku znajomych ze szkoły, o czym poniżej.


Spinning a note of magical realism, Mollo has her see his ghost underwater in a lyrically filmed scene that has a pinch of the L’Atalante about it. (via)

Pojawiają się też wielokrotnie zestawienia czerwone-niebieskie (jak w Annie), w ogóle są to jakieś chłodne Włochy, nawet gdy świetliste, to nie myśli się, że słoneczne, tylko błyszczące zimnem.
Italojęzyczni mogą być zainteresowani tym wywiadem.
The cinematographer Debora Vrizzi and director and other members of the film crew are recent graduates of the Centro Sperimentale di Cinematografia of Rome, as is first-timer Andrea Bellisario. The film has an air of experimentalism and youth about it. (via)
The film is strikingly restrained, immediately calling to mind recent films like Fish Tank, and Wendy & Lucy in it’s ability to emotionally place viewers in the shoes of it’s protagonist. Labeling the film a coming of age story – which it indeed resembles in many ways – would be doing a disservice to the richly sketched characters that live within. South Is Nothing is not a film of ultimate resolutions and finality, or of manufactured dramatics. Instead, Fabio Mollo weaves a kind of subdued realism juxtaposed with dream-like imagery that will surely divide opinions, but astonish and engross many. (via)
Mollo told an interviewer: “The inspiration for the movie is in its own title, the ‘South is Nothing.’ It’s a provocation against that mentality of the code of silence and resignation in which many generations [in the south of Italy] have been educated. It’s a story of youthful anger and a break with that mentality.” (via)