Venice: Coriales leads Penelope Cruz. “I say my smooth childhood” – Culture & Shows

– It’s the movie of life, “I got so close to the cinema maybe because of that, but if I did it as my first movie it would have looked so dull, and maybe educational, it would have been the story of a poor man going through a sex crisis, instead I waited, I have consciousness and things like this have to You are able to tell them when you know how to talk.” In an interview with ANSA, Emmanuel Criales, who today competes with L’Immosità in Venice 79th, the third Italian in contention, enthusiastically speaks, using important words such as “rebirth”. It can take a lifetime to tell yourself how you are, “As I always have, I have no memories of myself other than those, they are not choices, you just have to believe in yourself as you are.”

He doesn’t want The Immensity to be defined as a movie he’s directing, “I’ve always been out! I’m not a rock star, what should people care about, it’s a movie that worries me a lot, it tells my childhood, there is no transformation or transition, it would be misleading “. Certainly in that memory there is a house from the seventies in one of the neighborhoods under construction in Rome at the time, “consistent with my status” and then there are the family dynamics, the joys of dancing the songs of Raffaella Cara, but above all the pains. “My mom didn’t know where to turn her head – the director is moving – she hid with me like in the movie, she tried to protect me, but I suffered from the pain I gave her. Her electronic birth name in feminine – and leaving a piece of my body, that was negotiating the condition. Me and not being And I want to keep it that way and I hope no one is shocked. Now fortunately times have changed, kids are great masters at this, they know how to use new words, gender fluids for example, and they tell us ‘male-female categories, we are what we are’ On it, this is human beings before they were sexually defined.” Today – adds Kyrialis – there is a society other than the one in which I grew up, but we must provide for families and not leave them alone as my mother was at the time. Rome for the film ‘An abstract metaphysical landscape. For me, who love big open landscapes – director Respiro and Terraferma continues – shooting the entire movie inside a house seemed impossible to me, perhaps because it is precisely the reproduction of mine when I was a child, it felt good. I thought for a while Long: I will tell the autobiographical story sooner or later, it is there, it haunts you, and then the time came and everything went as it should. ”

If, as a foregone conclusion, the father was Vincenzo Amato, being his pagan representative, the mother as well as the teenage Adriana who rejects her identity was essential. “Penelope Cruz is the archetype of a woman and a mother, she’s like Penelope Ulysses. She was very generous, and the boys on the set saw her as a goddess and played with them: it was magic.” In Luana Giuliani, who plays Adriana who wants to be called Andrea, “I’ve seen myself again.” Their relationship is the heart of the story, “Maybe because it’s the female characters that really interest me, but men are boring!”. Finally, Cara, a kind of guardian god of enormity: “The dance scene was filmed on the hype notes that Penelope does with her boys on the day producer Mario Giannini came to tell us that Raffaella, who we’d been waiting for a visit to the set, was dead, it was a strange coincidence.” The film, written with Francesca Manieri and Vittorio Moroni, is produced by Wildside (a subsidiary of the Fremantle Group) and Warner Bros. Italy with French partners, after the premiere in Venice will be in theaters with Warner from 15 September.