The Mute Man of Sardinia (2022)
Genre : Drama, History
Runtime : 1H 43M
Director : Matteo Fresi
Synopsis
Gallura, the mid-1800s. The feud between the Vasa and Mamia families – historically documented – is causing bloodshed in the region. Bastiano Tansu, a deaf-mute since birth, is one of its protagonists. Mistreated and marginalized since his childhood, after his brother Michele was murdered he joined forces with one of the two leaders of the factions, Pietro Vasa, and put at his service his fury and his amazing aim, becoming a highly feared assassin. The State and the Church try to stem the wave of terror and only after more than 70 deaths, the peace of Aggius arrives. At first, Bastiano finds peace in his love for a pastor's daughter, but in a violent and superstitious world that already labeled him the devil's son when he was just a boy, someone like him cannot be found innocent. Thus, he chooses to confront his own destiny.
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Gallura, the mid-1800s. The feud between the Vasa and Mamia families – historically documented – is causing bloodshed in the region. Bastiano Tansu, a deaf-mute since birth, is one of its protagonists. Mistreated and marginalized since his childhood, after his brother Michele was murdered he joined forces with one of the two leaders of the factions, Pietro Vasa, and put at his service his fury and his amazing aim, becoming a highly feared assassin. The State and the Church try to stem the wave of terror and only after more than 70 deaths, the peace of Aggius arrives. At first, Bastiano finds peace in his love for a pastor's daughter, but in a violent and superstitious world that already labeled him the devil's son when he was just a boy, someone like him cannot be found innocent. Thus, he chooses to confront his own destiny.
Against the background of flocks of sheep at pasture, mules walking down unpaved roads, tractors in the fields, and isolated figures in a deserted village, a caption explains that Barbagia is a vast region in Sardinia; Orgosolo, Oliena and Manoiana are villages of shepherds and the men spend most of the year far away, with their flocks. This is why the houses and the children are entrusted to the women, who cut the wood, work the fields and prepare bread, shepherds’ bread.
This film is dedicated to Maria Lai, an artist born in 1919 in Ulassai, Sardinia. Surrounded and inspired by the ogliastra countryside, the cyclopic guardian of plots and landslides, Maria Lai uses inert materials like stone, concrete, asphalt, metal and wood to work old and new legends into librettos of individual works, installations and interventions, thus becoming part of the landscape that calls to her. In making this film the authors have confided in the artist’s role as a spokeperson, and it is as if one is listening to the voice of a wild olive tree - both millenary and contemporary - a voice that knows what to say (and can say whatever it wants) from beyond the boundaries of reality, history, nature and art. As that tree, the artist - confident of her roots - with a sound sense of rhythm and scansion, multiplies big and small stories, just as she did with the bread and fish in Santa Barbara di Ulassai along the way to the country church.
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