"I as a Light grew up in the crevices of life where, in the end, it's all about sliding doors." So today Ambra Angiolini talks about herself as her character in THE LONGEST NIGHT OF THE YEAR, the beautiful film, with an experimental, rarefied soul, by Simone Aleandri out of competition at the Turin Film Festival and in cinemas from 13 January with Vision. We are talking about the longest night of the year, the one between 21 and 22 December (winter solstice), a magical night with the sun setting around 16.30 and rising the next day at 7.30. Within this long night, four hopeless stories intertwine and touch each other in a small provincial town (Potenza) where Christmas lights seem to be everywhere. There is a politician (Massimo Popolizio) who, one step away from the elections,who should confirm it, he finds out he is about to be arrested. In the second story, however, a cubist who is no longer young (Ambra Angiolini), who lives with an impossible and sick father (Alessandro Haber), has decided to change her life, she is tired of her work. Then there is a boy (Luigi Fedele) involved in a relationship with a much older woman, his former teacher and three very bored and unambitious 20-year-olds looking for strong emotions aboard a latest generation hearse owned by the father of one of them. Last but not least, there is the peaceful gaze of Sergio, an elderly gas station attendant who is stationed in the filling station open all night and who has his dog as his only friend. What happens in these fifteen hours of uninterrupted darkness, not much like events,but much in the suspended lives of these people without too much hope. Also in the cast: Mimmo Mignemi, Francesco Di Napoli, Michele Eburne, Nicolò Galasso, Anna Ammirati, Antonio Petrocelli and Massimo De Francovich. "When I read the script - says Ambra to ANSA who tries to leave behind the end of the relationship with Massimiliano Allegri - I understood that what had happened to Luce could have happened to me, because in some way a very modern woman looking for shipwrecks ". Popolizio says only remotely: "My character is a bit of a Christian Democrat from the South and not a Christian Democrat from Veneto. And whoever understands it understands what I mean." Finally the director explains: "This is a film that I imagined realistic, sentimental, 'modern', but also visceral,where destinies suddenly fall into a limited space-time. This is not a thesis film, its strength lies in the construction of intense stories that put the humanity of the characters at the center. A profound humanity, fueled by melancholy and loneliness, in a circumscribed but universal place, in whose apparent stillness there are people who at that moment, that night, are experiencing something big. Because something big always happens, everywhere, even in places that seem immobile ".in whose apparent immobility there are people who at that moment, that night, are experiencing something big. Because something big always happens, everywhere, even in places that seem immobile ".in whose apparent immobility there are people who at that moment, that night, are experiencing something big. Because something big always happens, everywhere, even in places that seem immobile ".
Ambra Angiolini, who grew up in the crevices of life
"I as a Light grew up in the crevices of life where, in the end, it's all about sliding doors." (HANDLE)