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 Kavac film, IBC Movie and Rai Cinema present a film by Marco Bellocchio Sangue del mio sangue
(Blood of My Blood)
with Roberto Herlitzka, Pier Giorgio Bellocchio, Lidiya Liberman, Fausto Russo Alesi, Alba Rohrwacher, Federica Fracassi, Alberto Cracco, Bruno Cariello, Toni Bertorelli, Filippo Timi, Elena Bellocchio, Ivan Franek, Patrizia Bettini, Sebastiano Filocamo, Alberto Bellocchio A Kavac Film production Together with IBC Movie and Rai Cinema co-­‐produced by Barbary Films -­‐ RSI Radiotelevisione svizzera -­‐Amka Film A co-­‐production between Italy – France – Switzerland Distribution Release date: 9 September 2015 Press Office Film Studio PUNTOeVIRGOLA Olivia Alighiero and Flavia Schiavi tel + 39.06.39388909 [email protected] www.studiopuntoevirgola.com Press Office Distribution 01 Distribution tel + 39.06.684701 Annalisa Paolicchi [email protected] Rebecca Roviglioni [email protected] Cristiana Trotta [email protected] Stefania Lategana [email protected]
2 Crew
written and directed by production a co-­‐production of and produced by produced by co-­‐produced by a production of executive producer director of photography editing music set design costume design production supervisors production assistant assistant director casting and acting coach sound engineer mixing engineer sound editing sound effects post production supervisor duration/length international distribution distribution in Italy press office: film Marco Bellocchio Kavac Film IBC movie Rai Cinema Simone Gattoni for Kavac Film Beppe Caschetto for IBC Movie Fabio Conversi for Barbary Films Tiziana Soudani for Amka Films Gabriella de Gara for RSI Radiotelevisione Switzerland SOFITVCINE 2 Alessio Lazzareschi Daniele Ciprì Francesca Calvelli and Claudio Misantoni Carlo Crivelli Andrea Castorina Daria Calvelli Massimo Di Rocco and Luigi Napoleone Daniele Esposito Lucilla Cristaldi Stefania De Santis Christophe Giovannoni Roberto Cappannelli Lilio Rosato New Digital Film Sound Irma Misantoni 100’ The Match Factory 01 Distribution Studio PUNTOeVIRGOLA -­‐[email protected] press office: web Inter Nos Web Communication -­‐ [email protected] this film has been recognised as being of cultural interest with the contribution of MINISTERO DEI BENI E DELLE ATTIVITÀ CULTURALI E DEL TURISMO – DIREZIONE GENERALE PER IL CINEMA this film has been realised thanks to the use of tax credits provided by the law of 24 December 2007, N. 244 this film has been made with the support of the region of Latium (Regione Lazio) – regional fund for cinema and audio-­‐visual equipment 100% in association with SOFITVCINE 2
3 Cast
The Count Federico Benedetta Cacciapuoti Maria Perletti Marta Perletti Franciscan Inquisitor Angelo Doctor Cavanna With the friendly participation of Elena Rikalkov The Count’s Wife Father Confessor Cardinal Federico Mai Roberto Herlitzka Pier Giorgio Bellocchio Lidiya Liberman Fausto Russo Alesi Alba Rohrwacher Federica Fracassi Alberto Cracco Bruno Cariello Toni Bertorelli Filippo Timi (The Madman) Elena Bellocchio Ivan Franek Patrizia Bettini Sebastiano Filocamo Alberto Bellocchio 4 Blood of My Blood
For his latest film Marco Bellocchio has reunited the cinematographic “family” with which he has long had strong artistic and human ties. Roberto Herlitzka, the unforgettable Aldo Moro in Good Morning, Night and the incisive politician in Dormant Beauty; Pier Giorgio Bellocchio, the director’s son, who already as a child was no stranger to the cinema and who has been directed by his father in a number of films (Good Morning, Night; Dormant Beauty; Vincere…) as well as in the theatre (Uncle Vanya); Lidiya Liberman, whom Marco Bellocchio discovered and chose for the role of Helena in Uncle Vanya and who is now making her film debut; Alba Rohrwacher, whom he directed in Sorelle mai and Dormant Beauty; and Federica Fracassi (who also appeared in Dormant Beauty). And then there is the remarkable Toni Bertorelli from The Prince of Homburg and My Mother’s Smile; Bruno Cariello, now appearing in his fourth film with Bellocchio; and Filippo Timi, the extraordinary protagonist from Vincere, which also featured Fausto Russo Alesi. And, last but not least, Elena Bellocchio, who appeared in Sorelle Mai. They have come back together in Bobbio, the town where Bellocchio directed his first film Fists in the Pocket and where, every summer, he holds the workshop for young actors “Fare Cinema” (“Making Movies”). And it was there during a search for new locations that one summer he discovered the ancient prisons of Bobbio, closed and abandoned for decades, but which in a very distant past were part of the monastery of Saint Colombano. And it is in this convent-­‐prison, in this little town in the Val Trebbia, a cinematographic space and one of the soul, between the past and the present, that Blood of My Blood comes alive… 5 Brief synopsis
Young man-­‐at-­‐arms Federico finds himself seduced – just like his twin brother and priest – by Sister Benedetta who, as a result, is immured in the ancient prison of Bobbio. Centuries later another Federico returns, this time an alleged government inspector who will discover that the building is still inhabited by a mysterious count who only lives at night. Detailed synopsis
Federico, a young man-­‐at-­‐arms, is pressured by his mother to go to the prison-­‐convent of Bobbio where Sister Benedetta has been accused of witchcraft for seducing Fabrizio, Federico’s twin brother, and causing him to betray his priestly calling. Their mother urges Federico to restore his brother’s honour but he too falls under Benedetta’s spell, condemned now to life imprisonment within the monastery. But thirty years later, Federico, now a cardinal, will meet Benedetta again, still there behind the walls… Present day…Federico Mai, an alleged government inspector, comes knocking at the door of the seemingly abandoned monastery-­‐turned-­‐prison together with the Russian millionaire Rikalkov, who is hoping to buy it. The property, however, is still inhabited by a mysterious count who is living in some of the ancient prison cells illegally and only moves around the city at night… The presence of the two strangers sets the whole community of Bobbio atremble, which, under the count’s guidance, has long attempted to live through fraud and deception while defying the inexorable advance of modernity. But is the new really better than the old? 6 Director’s note
The film was inspired by my discovery of the ancient prisons at Bobbio, which have been shuttered and abandoned for decades but which were constructed in the 19th century from a wing of the convent of Saint Colombano. I discovered it in 2009 during one of my perennial scouting trips for new locations to film the stories that every summer, starting in long ago 1995, I have directed in Bobbio at the Fare Cinema workshop. This discovery inspired the first section of the film, which was entitled The Nun. It was the story of Benedetta, a nun who had been immured in the prison-­‐convent of Santa Chiara in Bobbio. The reference to the “Nun of Monza” was explicit. Finished but never screened, over the next few years this short film pushed me to imagine and then tell the tale of what had led up to that terrible condemnation in a proper film. And that’s how Blood of My Blood came about, which really is the story of Benedetta’s trial, the tests to which she was subjected so that she would confess her alliance with Satan, and her ultimate “immuratio”. In the end, it seemed to me that this story – unburied from such a remote past – deserved to be returned to present-­‐day Italy (and perhaps in order to respect the established length of full-­‐length film) and, more precisely, to that small-­‐town Italy which Bobbio represents; a reality which has by now been thoroughly obliterated by modernity and globalisation etc. together with its comfortable and insulated sense of rural isolation, which had long been protected by the consociational system of parties and labour unions…In the contemporary part of the film, that world is represented by a mysterious count (a vampire?) who lives in that abandoned prison where our story began. I would not make such an electrifying and risky film for any old reason or simply by chance. I feel that the profoundest reason for making such a film was my desire to return in an indirect and “transfigured” way to the tragic story that has marked my life: the death of my twin brother, a theme I already confronted in The Eyes, The Mouth, but under powerful and unconscious influences that, in the end, damaged the film. Here a story dating from 1630 gave me the freedom necessary to return to the same theme without being “hounded” by my own history. And yet, at the same time, to do so in an environment that was that familiar to me, Bobbio, which facilitated the spatial and temporal “collocation” of the images. 7 Marco Bellocchio Working with Bellocchio Roberto Herlitzka When I think about the films I have made with Bellocchio, the term “work” does not come to mind, even if it would be normal. Rather, I think of the idea of participating in a work of art in a natural and essential way. This is due to that – what I like to call – “inspirational” presence which is never removed from the work itself, but serves as a continuous and intimate point of reference to all those contributing to it. Once, when reading a scene during the filming of Good Morning, Night, Marco, in his cautious and gentle tone, asked me if I could avoid sounding “affected” in a certain line. I did so, while simultaneously contemplating suicide, “affectation” being the worst sin for an actor of the theatre. However, I felt better when, some time later, an actress I greatly respect told me that Bellocchio had told her the exact same thing. Thereafter I cared even more for the actress, for Bellocchio, and for myself. Pier Giorgio Bellocchio Writing these few lines has proven to be a very complicated and challenging assignment for, in this story, the relationship between a father and son and between a director and an actor meet, overlap, clash, help one another out and more. In making films together Marco and I, my father and I, have found that ground to build and develop our human and emotional relationship before a professional one. And it is precisely there on set, between one take and another, that we have had some of the most epic and generational arguments but through them, over the years, we have arrived at a level of understanding, agreement, total collaboration, reciprocal trust and a proven and solid love, which is the result of a long, difficult but incredible life-­‐journey together. In Blood of My Blood these connections and layers of familial history and human relations in general burn out and then reignite for hundreds of years in this example of cinematic freedom. Lidiya Liberman I truly feel fortunate to have met a director like Marco Bellocchio. Marco knows perfectly well what he wants from an actor, but at the same time has the sensibility of giving him or her the complete freedom to express themselves – he is always open to creative dialogue. He always directed me to follow my nature, he paid attention to every one of my interior movements; I felt that he was able to intuit whatever would resound in me in order to help me go in the right direction. During the shoot, maybe thanks to the special atmosphere that Marco knows how to create on set, little magical things constantly happened. For example, there was this miraculous coincidence in a dramatic moment for my character when Benedetta suddenly must hear the sound of the bells; and then, right when we were shooting the scene, at the exact moment I was supposed to imagine them, we actually heard the sound of real bells. Or when, in another scene, immediately after having been rescued from death, a white butterfly appeared right in front of my face … 8 Fausto Russo Alesi The first time I met Marco Bellocchio was in Bobbio during his summer workshop where he was working on a short film called La media matematica, which later became a fragment of Sorelle Mai. I immediately had the possibility of literally touching the vision and know-­‐how of a master who leads actors into his world, giving it to them with rigour and immense freedom at the same time. With Vincere and Blood of My Blood I had the feeling of working on set in the exact same way you work in the theatre where the time of rehearsals expands and the actors have the possibility to deepen and undergo a long journey every time they confront a new text. With Marco Bellocchio, even if the times and the conditions of cinema are very different from those of theatre, the immersion is vertical and the work is instantaneously intense, organic and profound. Neither the day of shooting nor the way we would work the day thereafter was ever rigid or programmatic, but, on the contrary, inspired, detailed and, at times, would even go in the opposite direction of what we had thought thanks to a suggestion, a space, the analysis of the previous day’s work. Each and every time I have worked with Marco Bellocchio I have felt a great human involvement, have felt part of a great team and have had the emotional sensation, of fundamental importance to an actor, of being and being able to become “just about anything” down to an unforgettable detail, in the search for the right frame, in the surprising and uninterrupted flow of a spontaneous and perilous tracking shot. Alba Rohrwacher I first met Marco when I was still a student at the Centro Sperimentale. I still remember my first audition with him. Returning home I said to myself that no matter how it went, it had been a life-­‐lesson, as important as my studies, if not more. We frequently work together and it is incredible every time. Everything is alive, Marco’s investigations are thrilling, surprising…being a part of what he creates has always been a very emotional experience for me. When we were filming Sorelle Mai I remember that Marco didn’t really know what my character Professor Vitaliani would say in the final scene. We said goodbye the evening before knowing only that we would film the following day but without knowing what that distracted professor would say. The next morning we met on set. Marco told me that he had thought about it throughout the night and that he had found the right words for the scene. He told me “I’ve written a short monologue, here it is”. And he gave me around ten, hand-­‐written pages of script. Then he gave me a pat on the back and added “We shoot in an hour. Go study!” I didn’t know where to start. All that dialogue seemed impossible to memorise, it was crazy, something I never would have been able to do. But I started to read. One, two, three times. The words immediately became my own, they were the precise synthesis of that professor we had talked about for a week. They were elevated but approachable. I knew how to say them, find them in my mind, remember them exactly as Marco had written them. It was magical. We took three takes and the scene was done. With an unexpected ease, everything was natural. Entering into Marco’s world has something to do with the mysterious. I don’t know how, but when I work with him I follow an unknown logic that turns the work into a space where even miracles can occur. 9 Federica Fracassi With Marco you prevail through a kind of backwards reasoning, by inhabiting the space of disorientation. His set is a space of uninterrupted creation, every nerve becomes attuned to registering the minutest detail, to constructing the image (the obsession of the image), which is his way of making film, which is film itself. When I think about our human and artistic encounter…the image returns. Marco knew how to observe me with touching and severe precision. I think of him while he is working…and an image arrives. I imagine him at night, in the pause between one day on set and the other. I see him, alone, visited, revisited by everything: by the long-­‐winded, by the apathetic, by the mad, by the grotesque, by the fold of a piece of clothing, by the wrinkle of a forehead. I imagine him there, getting angry, but then he begins to laugh together with his ghosts. And shake his fists. And the next morning, right on cue, so early that no one has slept at all, he gathers us together and changes everything. Lines, details, relationships, commas. In the blink of an eye undoes everything that had appeared safe. Above all, what had been safe for us actors, and, having done so, causes something beautiful to emerge. The warped one, the only one of us with the steely grace to know how to see. “In fairytales it is the madman who reasons backwards…This person believes, as does the saint, in walking upon the waters, in the ardent spirit that can pass through walls.” Cristina Campo Alberto Cracco Filming’s in Bobbio. Ponte Vecchio. The Val Trebbia. I arrive, go into a shop and say "It’s July, but it’s cold out there!" The shopkeeper responds, "Marco came by this morning wearing a winter coat!" "Marco", of course, is Marco Bellocchio – he was born here. The two of them went to school together. Everyone knows him, and, ever so discreetly, gives him the space to work. Some rather erudite walk-­‐ons spin intricate and distant village stories. The river that runs ... A true artist, he always wants to share something authentic with you, a part of himself. The days spent watching the water in the evening seem stuck in time. Eternal. Walking through the woods makes you hungry and, ever so discreetly, we stuff ourselves full of mushrooms. Bruno Cariello After having worked together for so many years, it is difficult for me to talk about my friendship with Marco. There is all the reserve and the desire to protect a relationship which over the years has become ever more familial, one which goes beyond the artistic relationship between actor and director. I care about Marco very much and all the time I have spent with him, on set and off, has been harmonious and woven through with silences and thoughts, which always lay the ground for a truly free encounter. 10 Toni Bertorelli One day Marco decided to imitate Hitchcock, who was famous for always showing up in his own films. So, unbeknownst to everyone, he suddenly appeared right when we were shooting a scene – he had mixed in among the actors surrounding me and begun to improvise, forcing me to do my best not to laugh! He’s a great joker…And in the end we kept the scene because it came out perfectly! It was on the set of My Mother’s Smile. Filippo Timi I am always ready to do anything for Marco, it’s like a call to arms. I’ve told him a number of times: all you have to do is whistle, and I’ll be there. Elena Bellocchio Being on set with my father has never been a job – he has never asked me to play a role that is distant from who I am. In general he creates characters that mirror us because he is someone who demands spontaneity and naturalness. He is a person who lives outside of all boxes, who is completely dedicated to his art, but who has found an entirely original way to dedicate space to his family by marrying us to his own work. And I believe that this is a gesture of love, a desire to ingrain us into his life. At the base of his work with actors there is always a great reciprocal respect. He expects seriousness and manages to dedicate himself body and soul to the shared objective. Sometimes he may seem enigmatic, and I think the only way to understand him is to enter into an intimate and relaxed relationship with him. Maybe in this case someone of his own blood has an advantage, but knowing him profoundly you begin to understand him. Ivan Franek This was the first time that I worked with Marco, and there was not a lot of time to develop a close relationship. That stated, Marco Bellocchio is one of the directors who gave me a reason and the desire to continue working as an actor. He is a great man of the cinema! Patrizia Bettini For me, a person used to acting in the theatre and not the cinema, working with Marco Bellocchio was a state of grace. With Vincere there was a very strange transfiguration that united the film to my life with the concatenation of a black hole. There was something extremely beautiful about our daily meetings with the director who would give us tips – a manner of directing that was very much of the theatre – and to see how all the changes throughout my work on set were always accompanied by powerful movements of the soul. Marco pushes people to ignite the genus loci within. He gives you powerful directions, and then spontaneous changes of direction to which you must respond, blow by blow. 11 Sebastiano Filocamo You feel loved: this, for me as an actor, is both the most intimate pleasure and the necessary base for acting well. Even at difficult moments, the master envelops you with his severe but loving and silent attention. Sometimes he invites you to “disobey” his words in order to reach his concept through other means, accompanying him upon his creative path, which is anything but obvious, of being an experimenter. We were shooting a scene – a simple walk. Bellocchio, after a few takes, felt that something was missing, that everything could not be reduced to a walk. He asked to have some hens. Everyone looked a bit perplexed. I secretly hoped he would not ask me to take them in my hands because I have a phobia about them. The hens arrived and, as per their nature, began to wander around in a disorganized way about our feet. With every take they would appear when they felt like it, thus forcing every one of the actors to do something unexpected and giving life to a scene that ever more began to tell the tale of the place and its inhabitants. PS. Thankfully, the most sensitive hens of the bunch avoided me, clearly disgusted by my fear. Alberto Bellocchio The great Manolete, returning to Italy after an exacting business trip to Mexico where, among other things, he experienced a dangerous run-­‐in with a bull, says to whoever requires an explanation that "In Mexico, even the horns have a pleasant taste". When I have once and for all managed to connect this experience to the theme "Working with Marco Bellocchio", I shall let you all know. 12 Blood of My Blood
Roberto Herlitzka Roberto Herlitzka was born in Turin. He graduated from the National Academy of Dramatic Art of Rome, Silvio D’Amico and continued studies at the school of Orazio Costa. He has won the Ubu Award for Best Actor two times, in 2002/2003 and in 2003/2004. He has acted in numerous plays, especially the classics, from Chekov to Shakespeare. His film debut was in Lina Wertmuller’s 1973 film Love and Anarchy, and acted in many of her films thereafter. He has worked with Marco Bellocchio in The Butterfly’s Dream (1994), Good Morning, Night (2003) – a film for which he received a Nastro d’Argento and a David di Donatello – and Dormant Beauty (2012). Other films include Traces of an Amorous Life directed by Peter Del Monte (1990), In nome del popolo sovrano by Luigi Magni (1990), Marcellino pane e vino by Luigi Comencini (1991), Marianna Ucrìa by Roberto Faenza (1997), The Body of the Soul (1999) and Quartet, both by Salvatore Piscicelli, Secret Journey by Roberto Andò (2005), The Demons of Saint Petersburg by Giuliano Montaldo (2007), Narciso by Marcello Baldi (2007), Aria by Valerio D’Annunzio (2009), The Last Man on Earth by Gianni Pacinotti (2011), Seven Acts of Mercy by Gianluca and Massimiliano De Serio (2012), The Red and the Blue by Giuseppe Piccioni (2012), La grande bellezza by Paolo Sorrentino (2013), and Io Arlecchino by Matteo Bini, Giorgio Pasotti (2015). Pier Giorgio Bellocchio Pier Giorgio Bellocchio’s screen debut came when he was still a child in two of his father’s films, Vacanze in Val Trebbia (1980) and A Leap in the Dark (1980). He returned to work with Marco Bellocchio in The Nanny (1999) and in Good Morning, Night (2003), which was followed by Radio West by Alessandro Valori (2003), Melissa P. by Luca Guadagnino (2005), Vincere by Marco Bellocchio (2009), The Black Sheep by Ascanio Celestini (2010), It Was the Son by Daniele Ciprì (2012), Sorelle Mai (2011) and Dormant Beauty (2012), these latter two once again directed by Marco Bellocchio. He has also been in numerous television films: Al di là delle frontiere by Maurizio Zaccaro, La figlia di Elisa – Ritorno a Rivombrosa by Stefano Alleva and Affari spenti nella notte by Anna Negri. He has also done frequent work in the theatre. In 2011 he was the protagonist of Fist in the Pockets, adapted from the film of the same name by Marco Bellocchio and directed by Stefania De Santis; in 2013 he played Astrov in Marco Bellocchio’s Uncle Vanya alongside Sergio Rubini and Michele Placido; and he played Orestes in Euripide’s Orestes directed by Filippo Gili with whom he also worked on Porte Chiuse in 2013. Una sera delitto. Una sera castigo sees him as the protagonist together with Sergio Rubini, who is also the director of the re-­‐visitation of Dostoevsky’s text. 13 Lidiya Liberman Ukrainian born actress Lidiya Liberman moved to Italy in 2007 to study at the Centro Sperimentale di Cinematografia. Between 2011 and 2012 she studied acting at the Academy of Dramatic Arts in Saint Petersburg. She has appeared in a number of independent short-­‐films, including director Carlo Sironi’s Cargo (2012), which was screened at Venice in the Horizon section, and which brought her the Best Actress Award at the Corti & Sigarettes Festival; it was also where she met Marco Bellocchio who then selected her for the role of Helena in his version of the play Uncle Vanya (20013/2014). In the theatre she has also acted in Il panico and L’inappetenza, directed by Manuela Cherubini (2009), and in the opera The Nose directed by Peter Stein (2013). She had a part in the television film La doppia vita di Natalia Blum, directed by Anna Negri (2009). Together with Alessio Boni she recently finished shooting Respiri, director Alfredo Fiorillo’s debut film. Blood of My Blood is her feature-­‐length debut. Fausto Russo Alesi Fausto Russo Alesi was born in Palermo in 1973. He graduated from the Paolo Grassi Civic School of Dramatic Art in Milan in 1996 and that same year was one of the founders of A.T.I.R Associazione Teatrale Indipendente per la Ricerca (Association of Independent Experimental Theatre). In the year 2000 he perfected his skills further as part of the international touring theatre master class “Ecole des Maîtres”. In the theatre, where he is active as both an actor and a director, he has worked with, among others, Luca Ronconi, Peter Stein, Eimuntas Nekrosius, Serena Sinigaglia, Gabriele Vacis, Carmelo Rifici, Damiano Michieletto, Armando Punzo, and Giampiero Solari. He has won the Ubu Award three times, the International Association of Theatre Critics Award, the “Olimpici del Teatro” Award, the “Vittorio Gassman” Award, the “Annibale Ruccello” Award, the “Persefone D’Oro”, “La Maschera D’Oro”, the “Antonio Landieri” Award for Theatre of Civic Duty for his “Natale in casa Cupiello” (Christmas at the Cupiellos) by Eduardo De Filippo where he was both the director and the only actor (the play was shown by Rai 5 on the 30th anniversary of Eduoardo’s death). Among the many films he has worked on are Bread and Tulips by Silvio Soldini, E ridendo l’uccise by Florestano Vancini, In Memory of Me by Saverio Costanzo, Secret Journey by Roberto Andò, Vincere by Marco Bellocchio, The Double Hour by Giuseppe Capotondi, The Passion by Carlo Mazzacurati, Piazza Fontana: The Italian Conspiracy by Marco Tullio Giordana, Venuto al mondo by Sergio Castellitto, Garibaldi’s Lovers by Silvio Soldini, and Altri Tempi by Marco Turco (television film). 14 Alba Rohrwacher Alba Rohrwacher had her widescreen debut in 2004 in L’amore ritrovato by Carlo Mazzacurati. This was followed by roles in films like My Brother is an Only Child by Daniele Luchetti (2006), Days and Clouds by Silvio Soldini (2007), Quiet Calm by Antonello Grimaldi (2008), Giovanna’s Father by Pupi Avati (2008), I Am Love by Luca Guadagnino (2010), The Man Who Will Come by Giorgio Diritti (2010), What More Do I Want? by Silvio Soldini (2010), The Solitude of Prime Numbers by Saverio Costanzo (2010), Sorelle Mai by Marco Bellocchio (2010), Diarchy by Ferdinando Cito Filomarino (2010), Garibaldi’s Lovers by Silvio Soldini (2012), Dormant Beauty by Marco Bellocchio (2012), Con il fiato sospeso by Costanza Quatriglio (2013), Via Castellana Bandiera by Emma Dante (2013), Hungry Hearts by Saverio Costanzo (2014), The Wonders by Alice Rohrwacher (2014), Tale of Tales by Matteo Garrone (2015), and Sworn Virgin by Laura Bispuri (2015). In 2014 she won the Volpi Cup Award in Venice for Saverio Costanzo’s Hungry Hearts. In addition to the numerous other awards she has received, she has won two David di Donatellos for Giorni e nuvole (2008) and Giovanna’s Father (2009); three Ciak d’Oros as Best Debut Actress in 2008 and Best Actress for What More Do I Want? and The Solitude of Prime Numbers (2011); a Nastro d’argento for The Solitude of Prime Numbers (2011); and the Globo d’oro for Best Actress 2015 for Hungry Hearts by Saverio Costanzo (2014). Federica Fracassi A sensitive interpreter of contemporary plays, over the last number of years Federica Fracassi has dedicated herself to the most visionary, ferocious, and poetic texts to have appeared. Since her debut, she has worked to carve out an independent path within the panorama of experimental theatre. At a very young age she attended the Paolo Grassi Civic School of Dramatic Art in Milan and followed the work of Carmelo Bene, Luca Ronconi, Thierry Salmon, Romeo Castellucci and Cesare Ronconi. Together with the theatre director Renzo Martinelli she founded the company Teatro Aperto, known today as Teatro i, and runs the space of the same name in Milan, a true factory of contemporary theatre. In the theatre she has worked with Valerio Binasco, Valter Malosti and Antonio Latella and has received numerous awards, including the Ristori Award, the Olympic Theatre Award, the Critic’s Award, Menzione d’onore and Eleonora Duse Award, and the Ubu Award. She made her film debut in 2010 in Happy Family by Gabriele Salvatores, which was followed by, among others, Dormant Beauty by Marco Bellocchio and There Will Come a Day by Giorgio Diritti (2012), Human Capital by Paolo Virzì (2014), Antonia by Ferdinando Cito Filomarino and The Obscene Life by Renato De Maria (2015). 15 Alberto Cracco Alberto Cracco was educated at the National Academy of Dramatic Art of Rome, Silvio D'Amico and at the Actors Centre of London. An actor and theatre director, he has both acted in and directed a large number of pieces. His film debut came in 1977 in Silvano Agosti’s In the Highest of Skies. Many other roles followed, including Bianca by Nanni Moretti (1983), Phenomena by Dario Argento (1984), The Mask by Fiorella Infascelli (1988), Marcellino pane e vino by Luigi Comencini (1991), Good Morning, Night and Vincere by Marco Bellocchio (2003 and 2007), Il Divo by Paolo Sorrentino (2008), and Pope Joan by Sönke Wortmann (2009). He has also appeared in many television series like La Squadra, R.I.S., Nebbie e delitti, Il tredicesimo apostolo, Don Matteo, Wojtyla -­‐ un Papa rimasto uomo, Maria Montessori. Bruno Cariello Bruno Cariello lives and works in Rome. He made his acting debut early on in the theatre working with important directors like Ferrero, Marcucci, Crivelli, Gregoretti, Pugliese, Calenda and Monicelli. He has taken part in numerous television films, including Padre Pio (2000), La guerra è finita (2002), Mio Figlio (2004), Il giudice Mastrangelo (2005), and Italian films like The Bride’s Journey by Rubini (1997); The Knights of the Quest by Avati (2001); Unfair Competition di Scola (2000); My Mother’s Smile (2002), The Wedding Director (2006), and Vincere (2009) by Bellocchio; and We Believed by Martone (2010). Among his most recent theatre work is Uncle Vanya directed by Marco Bellocchio. He has published various texts for the theatre including: Figlio del Sud (nominated for the Giuseppe Fava Award), Due cuori e un'isola (a finalist for the Fondi La Pastora Award, 2002), Cinque gocce in un bicchiere (published by Del delfino 2006), Don Bosco, a bassa voce (published by Iuppiter 2014). For years he has been involved in social work through the realisation of plays and documentaries. Toni Bertorelli An actor and theatre director, Toni Bertorelli began working in 1969 playing characters from the classical and contemporary repertoire, often together with director Carlo Cecchi. In the theatre season 1997/98 he won an Ubu Award for Best Supporting Actor for his work in Moliére’s Tartuffe directed by Armando Pugliese. His directorial debut dates to 1996 with Moliére’s Les femmes savantes and was followed by Three Hotels by John Baitz together with Isabella Ferrari and Luca Zingaretti (1999), Il colonnello con le ali (2001), Possesso with Franca Valeri (2001) and Gossip! La scuola della maldicenza (2005). His film debut came in 1982 with Stangata napoletana by Vittorio Caprioli. In the 1990s he took part in Death of a Neapolitan Mathematician by Martone (1992), Who Killed Pasolini? by Giordana (1995, Premio Sacher d’Oro for Best Supporting Actor), The Prince of Homburg by Bellocchio (1996), Johnny the Partisan by Chiesa (1999) and Light of My Eyes by Piccioni (2001). In 2002 he was in the cast of My Mother’s Smile by Marco Bellocchio (for which he won the Flaiano Award) and Pontorno by Giovanni Fago. These were followed by The Passion by Mel Gibson (2004), Crime Novel by Michele Placido (2005), The Caiman by Nanni Moretti (2006) and, most recently, Latin Lover by Cristina Comencini. In the course of his career he has also appeared in many television dramas like Guerra e pace (2007), C’era una volta la città dei matti (2009), Pinocchio (2009), and Rossella (2011). 16 Filippo Timi Filippo Timi is an actor, director and author born in Perugia in 1974. He studied at the Little Theatre of Pontedera: Laboratory for Theatrical Experiment and Research with Dario Marconcini, at the Teatro Valdoca of Cesena with Cesare Ronconi and studied together with Pippo Delbono for the play “La rabbia”. He studied voice and overtone singing with Bruno De Franceschi; studied movement and participated in the Teatrodanza workshops with Julie Anne Stanzak of Pina Bausch’s Tanztheater Wuppertal; and with the contemporary dance company of Sosta Palmizi and Raffaella Giordano. He has also worked with Robert Wilson in “G.A. Story” and with Davide Enia. Together with actor Silvano Valtolina and set designer Giacomo Strada in 1996 he founded Bobby Kent & Margot, a theatre collective investigating the relationship between the body and space based on the reflections of Pavel Florensky. He won an Ubu Award in 2004 for Best Theatrical Actor Under 30. He has played Orpheus, Danton, Perceval, Satan and was in La vita bestia, which inspired his first novel Tutt’al più muoio (2006), written together with Edoardo Albinati and followed by E lasciamole cadere queste stelle (2007) and Peggio che diventare famoso (2008). His most recent theatrical appearances have seen him in the triple role of actor, director and author, in 2009-­‐2010 with Il popolo non ha il pane, diamogli le briosche, in 2011-­‐2012 with Favola, c’era una bambino e dico c’era perché ora non c’è più, in 2012\2013 with Amleto² and in 2014\2015 Il Don Giovanni, vivere è un abuso mai un diritto. In the theatre he has worked with Giorgio Barberio Corsetti, Federica Santoro, Andrè Ruth Shammah, Paola Rota, Pippo Delbono and many others. In the cinema he has worked with Saverio Costanzo, Giuliano Montaldo, Gabriele Salvatores, Giuseppe Capotondi, Daniele Gaglianone, Rä di Martino, Valeria Bruni Tedeschi and Tonino De Bernardi. He provided the voice of Bene in the Italian version of Batman, The Dark Night Returns and that of Manny in Ice Age 4. Elena Bellocchio An actress by chance, Elena Bellocchio is presently an architectural student. However, ever since she was a child spending vacations with her family in Bobbio, she has found herself involved in her father Marco’s workshop “Fare Cinema”. At only five years of age, she was among the protagonists of Sorelle (2006) and returned some years later in Sorelle Mai (2010). Ivan Franek Ivan Franek was born in Pilsen, Czech Republic, in 1965, and was trained at the Academy of Performing Arts in Prague. Moving to France, he began to work as an actor, set designer, puppeteer and puppet maker in the company of the Théatre d'ombres et de marionnettes directed by Jean-­‐Pierre Lescot, with whom he worked for ten years. In addition to his work in the theatre, he has also worked in television, splitting his time between France and Italy. His widescreen debut was in 2000 when he was selected by Coline Serreau for the role of Touki in Chaos, together with Vincent Lindon and Catherin Frot. His next film was Vodka Lemon by Hiner Saleem (2003), and he was “discovered” by Silvio Soldini who selected him to be the protagonist of Burning in the Wind (2002). He has also appeared in Les Marins perdus by Claire Devers (2003), 36 Quai des Orfèvres by Olivier Marchal (2004), Smalltown, Italy by Stefano Mordini (2005), Night Bus by Davide Marengo (2006), L'Armée du crime by Robert Guédiguian (2009), In the Flesh by Christian Angeli (2008), One Life, Maybe Two by Alessandro Aronadio (2010), We Believed by Mario Martone (2010), La grande bellezza by Paolo Sorrentino (2013) and Cloro by Lamberto Sanfelice (2015). 17 Patrizia Bettini Patrizia Bettini had her artistic debut reciting one of her own poems at the first International Festival of Poets of Castelporziano (1979). Since then she has worked as an actress, singer and author, with an eye on the theatre of poetry and the connection between various forms of art. She has worked with Marco Bellocchio once before on the film Vincere (2009). Sebastiano Filocamo Actor and theatre director Sebastian Filocamo made his debut in 1983 in Nemico di classe at the Teatro dell'Elfo. Many important roles followed, like that in Naja directed by Angelo Longoni, Tamburi nella notte by Giampiero Solari, Crime and Punishment by Yuri Lyubimov and Montevideo by Daniel Horowitz. His film debut was in Journey of Hope by Xavier Koller (which won the Best Foreign Film Oscar in 1990). That was followed by A Pure Formality by Giuseppe Tornatore (1994); Weird Tales (1994) and Consigli per gli acquisti (1997) by Sandro Baldoni; A Bourgeois Hero by Michele Placido (1995); Raging Heart by Gianluca Sodaro (2000); The Undesirables by Pasquale Scimeca (2003); Renzo e Lucia by Francesca Archibugi (2004); A casa nostra by Francesca Comencini (2006); All the Sounds of the Sea by Federico Brugia (2012); and Black Souls by Francesco Munzi (2014). Together with the theatrical therapy group “La Stravaganza Onlus”, in 2011 he created the performance on the poetics of Fabrizio De Andrè “Ostinati e Contrari -­‐ la profezia delle onde”, which was awarded a medal of honour by the President of the Republic. Alberto Bellocchio Alberto Bellocchio is the poet of the Bellocchio family. His stories are profoundly intertwined with the generational development of the family, while his book sees him a narrator of free verse in a space where poetry and prose meet in an utterly personal idiom. He has published ten stories with presses like Il Saggiatore, Moretti and Vitali and Effigie. The seventh of nine children, he was born in Piacenza in 1936 where his lawyer father had moved from Bobbio after getting married. For more than twenty years he was a union leader. He lives in Milan but spends his summers in Bobbio and is involved with his younger brother’s workshop “Fare Cinema”. Also an actor by chance, he appeared in Sorelle Mai (2010) in the roll of the headmaster and in Vincere (2009) in the role of the President of the Assembly. 18 Blood of My Blood
The Director Marco Bellocchio Marco Bellocchio was born in Piacenza in 1939. In 1959 he interrupted his philosophical studies at the Catholic University of Milan and entered the Centro Sperimentale di Cinematografia in Rome. Between 1961 and ’62 he made the short-­‐films Abbasso lo zio, La colpa e la pena and Ginepro fatto uomo before moving to London to attend the Slade School of Fine Arts. His feature film debut, Fists in the Pockets, was shown in Locarno in 1965, and immediately gained international attention. Fifty years after its first screening, the Cineteca Nazionale di Bologna’s newly restored version will be shown in Piazza Grande in Locarno for the 2015 edition, honouring Bellocchio’s career with the Pardo d’Onore. La sua filmografia: 1965 – I pugni in tasca (Fists in the Pockets) 1967 – La Cina è vicina (the restored version was shown at the Festival of Venice in 2014) 1967 – Discutiamo, discutiamo (episodio di Amore e rabbia) 1969 – Paola 1969 – Viva il primo maggio rosso 1971 – Nel nome del padre (the restored version was shown at the Festival of Venice in 2011) 1972 – Sbatti il mostro in prima pagina 1974 – Nessuno o tutti (afterwards known as Matti da slegare) together with Silvano Agosti, Sandro Petraglia and Stefano Rulli 1976 – Marcia trionfale (Triumphal March) 1977 – Il Gabbiano 1980 – Vacanze in Val Trebbia (documentary-­‐series) 1980 – Salto nel vuoto (A Leap in the Dark) 1982 – Gli occhi, la bocca (The Eyes, The Mouth) 1984 – Enrico IV (Henry IV) 1986 – Diavolo in corpo (Devil in the Flesh) 1988 – La visione del Sabba 1990 – La condanna 1994 – Il sogno della farfalla (The Butterfly’s Dream) 1996 – Il principe di Homburg (The Prince of Homburg) 1999 – La balia (The Nanny) 2002 – L’ora di religione (My Mother’s Smile) 2002 – Addio del passato 2004 – Buongiorno, Notte (Good Morning, Night) 2005 – Il regista di matrimoni (The Wedding Director) 19 2006 – Sorelle 2009 – Vincere 2011 – Sorelle Mai 2012 – Bella Addormentata (Dormant Beauty) 2015 – Sangue del mio sangue (Blood of My Blood) He has just finished shooting the new film “Fai bei sogni” TV 1978 – La macchina cinema (together with S. Agosti, S. Petraglia, S. Rulli) 1997 – Sogni infranti 1998 – La religione della storia 1999 – Sorelle, Un filo di passione, Nina 2000 – L’affresco 2001 – Il maestro di coro 2002 – Vania In 2011 he received an honorary Golden Lion Award at the International Film Festival of Venice for lifetime achievement. Dozens of retrospectives have been dedicated to him throughout the world, including that of the MoMA in New York last year celebrating 50 years of work and this year at the 43rd edition of the Festival International du Film de la Rochelle. Since 2014 he has been the president of the Cineteca di Bologna. 20 Music
MUSIC COMPOSED, ARRANGED AND PRODUCED BY CARLO CRIVELLI
performed by ORCHESTRA CITTA’ APERTA
Edizioni Musicali RTI S.p.A. ARRANGEMENTS “NOTHING ELSE MATTERS” Performed by Scala & Kolacny Brothers Written by Ulrich Lars / Hetfield James Alan © Creeping Death Music Edizioni per l’Italia: Universal Music Italia Srl (P) Courtesy of Wall Of Sound / [PIAS] SELF-­‐FULFILLING PROPHECY Performed by Scala & Kolacny Brothers Written by Steven Kolacny © Jeff Dries Music BVBA Administered By Kobalt Music Publishing Ltd (P) Courtesy of Wall Of Sound / [PIAS] “SUL PONTE DI PERATI” Coro Gerberto -­‐ Bobbio Directed by the Maestro Edo Mazzon Arranged by D. Giacuzzo (P) 2014 Stelinvest-­‐ Provincia di Piacenza -­‐ Comune di Bobbio “TORNA SORRENTO” (by Enrico De Curtis and Giovan Battista De Curtis) Traditional 21