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Berlin: In the black forest chasing Hölderlin

2021-02-28T16:04:54.472Z


Rarefied atmospheres and no concessions. In Fabrizio Ferraro's LA VEDUTA LUMINOSA, out of competition at the Berlin Film Festival, he talks about poetry, nature and man. And it is done with a high reference: that of Friedrich Hölderlin. (HANDLE)


(by Francesco Gallo) (ANSA) - ROME, FEBRUARY 28 - Rarefied atmospheres and no concessions.

In Fabrizio Ferraro's LA VEDUTA LUMINOSA, out of competition at the Berlin Film Festival, he talks about poetry, nature and man.

And it is done with a high reference: that of FriedrichHölderlin.

Ferraro, 47, with a degree in philosophy and many film festivals, 'necessary' films, has always been so used to this, since 2009's Je Suis Simone (La Condition Ouvrière) in the cooker who evokes The work in the factory of the French philosopher Simone Weil (from 4 December 1934 to August 1935).


   This time in his The bright view - produced by Passepartout, Eddie Saeta and Rai Cinema - the protagonists are two: Mr. Emmer (Alessandro Carlini), gloomy director, introverted chronic etabagist who has not worked for some time, and Catarina (Catarina Wallenstein), mild assistant of 'an absent producer', that is the representative of a courageous production that wants to bring forward a work on the German poet destined for a long, but productive madness.


   The two, who could not be more different, thus leave by car to Tübingen, in search of the places of Friedrich Hölderlin, but the journey takes a long time and is made up of many silences of the director interspersed with his considerations, sentences, gradually more delusional and self-erotic .


   A film that the director, Fabrizio Ferraro, tells ANSA as follows: "With 'The bright view' - broadcast on Rai Tre at Fuoriorario on Saturday 6 March - we faced the Hölderlin which accepts the absence of attraction for divine fire and sees the forced turning of humans for a nature that is no longer house-divine. We smelled and felt that something impossible to understand in the forest: the immediate life that escapes while trying to contain it. And this escape - continues the director -, which sings a very concrete abstract presence, it's just an art, the art of escape. "

(HANDLE).


Source: ansa

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