The new director explains, together with the actresses Valeria Golino and Pina Turco, how for his film he started from a terrible news story using the tools of cinema to “say without showing.” Fortuna, presented in the Official Selection at the Rome Film Fest, will be in cinemas by the end of the year distributed by I Wonder.
Presented in Official Selection to Rome Film Festival, Fortuna is the remarkable debut of the Neapolitan director Nicolangelo Gelormini, who wanted to make this film for “the urgency to clarify a terrible news story.”
The fact in question is a gruesome story of pedophilia that took place a few years ago in Caivano, when following the death of a six-year-old girl, thrown from a balcony of a building, a complex network of abuse and silence and connivance emerged in the adult world.
Fortuna: cinema that allows a redemption from reality
“A story like this cannot be told, it would be pornographic, and so the idea was not to tell it,” explains the director. “Cinema allows us to represent the unrepresentable, not to show in order to say.”
Hence, a film that chooses an abstract and metaphysical register, where fantasy shapes reality, things change surprisingly in the middle of the film and only at the end does the link with the real events emerge with the final captions.
“I am not a journalist and I do not report,” dice Gelormini; “My approach was never that of investigation and I didn’t want to dwell on reality by preparing the film so as not to be contaminated by it, so as not to be frustrated in the imagination. Fortuna is a dream that comes true; it is cinema that allows a redemption from reality. It’s a star created for that little girl, a second chance for her, a celebration of her: and that’s why Fortuna is also the title of the film. “
A film built on betrayal
The basic concept from which the director started to tell the story of Fortuna is that of betrayal. “The betrayal of the care that children expect from their mother and adults, the betrayal of their desire for love. It is the emotion that I felt in front of those facts, and that I tried to return. From that feeling of betrayal, the two-act structure of the film was born, which betrays the viewer, and the constant division into two of many scenes of the film, even in the image, becomes for me the guideline of this betrayal. “
Valeria Golino and Pina Turco, mirror protagonists
Also Valeria Golino, the adult protagonist of the film together with Pina Turco, says he “deliberately did without immersing myself in the true story. I knew what had happened, and what little I knew was enough for me. “
It was “an extremely interesting screenplay: I don’t often read scripts that are not conceived as products, and that make you immediately think about cinema through its unusual points of view. Especially if we are talking about an Italian author in his first film, who often has to fight with means that are not adequate to his imagination: the imagination of our authors is often censored by the lack of means. Here, on the other hand, he managed to emerge strongly. “
“The temptation to emulate reality was strong,” he says Pina Turco, “But we avoided drawing inspiration from real characters in order to hold onto the director’s imagination. We must congratulate him and the producer for the strength and courage they had in bringing to light this terrible story in a poetic and sublimated form, and with the right respect it deserved.a.”
“Valeria floats on the set, occupies space, seems to dance,” says Turco, “I thought it would have been interesting if, given the mirroring of our roles, I had instead put myself on the ground, crawling and struggling in the frame.”
“Everything in this film is alienating and oblique, because everything is represented, and it is interesting to see how the environments change according to the presence, with an architecture that follows the emotional movements of the characters, “he adds Golino.
To fully understand many of the annotations of the two actresses, and not incur the sin of spoilers, readers will have to wait for the chance to see the film, which will be distributed by I Wonder, and which should debut in Italian cinemas by the end of 2020.