The film recounts an experience, that of a director and his two actors at grips with a play: from the first meeting to the initial readings, the rehearsals done at home, the ones done on stage and finally the first performance. But an experience that took place in the peculiar situation in which the whole of Italian culture found itself in the days between the first and second wave of the pandemic, when it really seemed possible to restart and the feeling of euphoria was accompanied by the illusion that the worst was behind us. Once again we were suddenly checked in our desire for beauty, for life.
시골에 살고 있는 네 소녀의 삶과 희망을 이야기하고 있다. 그들의 우정은 지 속적인 열정, 서로의 관심, 이상이 아니라 습관이고 간헐적인 열정, 서로에게 유익하지 않는 대립과 감정을 토대로 하고 있다. 감독은 선정적인 사건이나 극단적인 상황을 이 야기하려 하지 않았고, 미리 계획된 이야기를 하려하지 않았다고 한다. 우리에게 일어 나고 있는 모든 일들은 우리가 충분히 인식하지 못한 채 동반할 뿐이라고 말한다. (2018년 제10회 이탈리아 영화제) 유고슬라비아의 베오그라드에 있는 한 호텔에서 일하기로 한 카테리나는 유고슬라비아로 떠난다. 그런데 몇 가지 문제를 갖고 있는 그녀의 세 친구들이 카테리나를 따라가기로 하면서 이들의 삶에 크고 작은 사건들이 연달아 벌어진다. (베니스 인 서울 Venice in Seoul 2016)
In the opening scene we are witness to an old man’s lament about a world he no longer understands. Subsequent sequences gradually introduce us to various inhabitants of an unspecified southern Italian village and to the many bizarre situations in which the characters of the three vaguely adumbrated stories appear. Although some of them meet on a daily basis, the viewer receives scant information about their relationships, let alone their lives, and with no plot context. Nevertheless, the tone generated by the artfully composed shots and musical accompaniment suggests something inauspicious, even subliminally disturbing. The film, the script of which earned director Caputo the Mattador International Screenwriting Award, seeks to explore the typical Italian provincial world where the effort to be new and modern clashes with a commitment to deeply rooted traditions.
