One Mustang to the Sicilian, this is what the playwright Emma Dante offers us in the adaptation of her play The sorelle Macaluso. In this film where the Gnossiennes of Satie symbolize the memory, the Italian tubes the present moment and the doves the soul states of five Palermon sisters, the upheavals surprise. Love-hate, jealousy, drama, all over melanin and unconditional love. A poetic and explosive fresco.
Through the ages
Antonella, Maria, Lia, Pinuccia, Katia. Be prepared to follow them at several times in their lives: from childhood to adulthood for some... Not for everyone. Perhaps the only narrative reproach would be that childhood swept away too quickly. Time to cling to childish characters we miss. Three slices of life. Three different actresses each time, that goes without saying. In an interview with Angelo Acerbi for the Venezia 77, Emma Dante explains that the work was mainly on the details, their respective way of moving, touching their dresses, how they open the doors... Their body language won over their physical appearance. The director really sought consistency in their way of moving, echoing who they were ten years ago.
The sound is very important: from silence to chaos, the inner contrasts of the characters are often depicted in music and sounds, although the music is sometimes a little grandiose. The film is inspired by the play but the director wanted to make it a completely different work, so that one would not suffice for the other. His purpose? The one to explore each medium to the maximum.
Home as a body
For Emma Dante, the theatre takes shape by itself, we must not force anything. She explains that she is totally against any violent attitude. And yet, violence is present on the screen. Especially during this scene where, Maria, whose dream has been since very little that of becoming a dancer, extracted in the laboratory a heart of a deer. This scene is nothing other than a metaphor of life that the playwright could not have done on a theatre stage. She preferred to use all the tools of the seventh art missing in the theatre.
« For me, this film is an open heart operation. », she confides, always in the same interview. « The cinema helped explore the idea of a house like a body. Houses are bodies in which we live. We're all digested by our homes. They contain everything we have, our secrets, our frustrations... I wanted to reveal the secret hidden in this house. »
A drama, a disappearance, how to deal with the years that pass, mourning, managing the emotions to share. Who feels what and how things stagnate, how things move... These are the fundamental questions of the feature film. The fixed planes on the empty rooms of the apartment freeze the time, the contrast between sound chaos and silence too, absence, or the overflow of presences... Ideas of editing, and scenario. By mixing it all together, Emma Dante manages to stitch up the past while subtly revealing the scars it creates, even years after a drama.
See if you want to extend the summer, but a summer that will leave indelible traces.
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