ROma, 3 sets. (askanews) – A preview clip of “L’iscanto”, the new documentary by Tomaso Pessina, presented in Venice at the 22nd edition of the authors’ days, in the comparisons section.
The docufilm explores the magic of cinema through multiple looks. On the one hand, Maestro Pupi Avati, on the other the history of the cinema Odeon of Milan, a masterpiece of the dé inaugurated in 1929, designed by the great -grandfather of the director and now closed. A room that has marked the imagination of many generations, but which now is preparing to become a luxury shopping center.
From the symbolic loss of this room “the enchantment” was born, which intertwines the personal story with the strength of the screen, reconstructing a deep family bond: that between the director and the cinema, mediated by the central figure of Pupi Avati. The film takes shape as a journey through the themes, landscapes and obsessions of one of the masters of Italian cinema.
A personal and visual journey between memory, belonging and collective imagination, where private conversations with Avati puppets alternate with archive materials, and the original sequences of his films, which also meet a new life: animation. To live is the very power of cinema to enchant and transform.
The film takes shape as a journey through the themes, landscapes and obsessions of one of the masters of Italian cinema. At the center of the film is the sense of belonging: to a families, to a city, to a landscape, to an idea of cinema. But above all there is the desire to understand what “the enchantment” really is: a force that binds those who make films, those who look at them, and the places – more and more fragile – where that magic manifests itself.
“When we wondered how to make the concept of ‘enchantment’ linguistically, the natural response was to use the animation – explained the director – iconic sequences of Avati cinema are reinterpreted through the Rotoscoping technique, with original illustrations created by the artist Elisabetta Bianchi. The animation is not only served to ‘decorate’ the image, but to create new visions and new personal ways to the wonder suggested.
Photography is designed to respect the atmosphere of the places – the empty rooms of the Odeon, the Italian provincial landscapes, the Bolognese interiors – but with a cinematographic cure that restores beauty and visual depth, without excessive excess. A hybrid filmic language, where the documentary meets the author’s cinema, and where every stylistic choice contributes to evoking that feeling of enchantment that the film seeks, tells and finds. The idea is to compose the film as a visual score, in which the different time and material levels merge to tell both the real and the imagined. And to live it is not only the legacy of the master, but the very power of cinema. “
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