The victims and the perpetrators, the details, the editing: the director Beppe Fiorello and the protagonist of the film, Gabriele Pizzurro, talk about Stranizza d’amuri in our video interview.
Strangeness of love, in addition to being a good film, it is also a double debut. That of Joseph Fiorello director, and that of Gabriel Pizzuro who, from the theater, made his debut in the cinema as the protagonist. Driven precisely by a free and inspired approach, the film takes us to the hot summer of 1982, in Sicily. While Italy was about to win the World Cup, here is the explosive adolescence and the sweetest love between Gianni (Secret Samuel) and Nino, played precisely by Gabriele Pizzurro. A love hampered by village prejudice, capable of infecting their respective families. Inspired by Crime of Giarre (still unsolved), Beppe Fiorello outlines a vital and subduedly dramatic film, which effectively analyzes the nuances between victims and perpetrators, carried out in the small town bar.
“The bar is part of the memories I carry with me”explains the director in our video interview: “There were the bars with some dudes… and the cool bars, with the juke box, playing the _Clash or Franco Battiato. There were the dark parts and the light parts. I wanted to tell the fragility of these characters, who can’t manage their own idea. And from here it can lead to violence, even dangerous…”. Almost a _Far West atmospheretells theactor: “These characters are an integral part of the film. And yes, they are characters from the Wild West. They are executioners in terms of the story itself, but they actually live within them these things”.
Stranizza d’amuri, the review: Beppe Fiorello’s directorial debut for an inspired and vital film
Stranizza d’amuri: the video interview with Beppe Fiorello and Gabriele Pizzurro
Strangeness of love, in addition to having an emotional approach to the story, it is a precise and detailed film. An intelligent choice, and functional to the contextual credibility of the screenplay. “I worked with the costumes, with the scenography and with the photography. They were my beacons along the way. Namely Nicoletta Taranta, Ramiro Civita, Paola Peraro. People who study the details. It’s a film set in 1982, but the costume designer he proposed clothes from years before, because you couldn’t be fashionable right away. There was a chronology of things. And if these details have arrived, it’s thanks to them”declares Beppe Fiorello.
Stranizza d’amuri, the review: Beppe Fiorello’s directorial debut for an inspired and vital film
The rhythm of life
During the press conference, Beppe Fiorello explained that he felt the need to tell a universal story. On this cue, he cited Roma by Alfonso Cuarón, for how he portrayed a family within a historical and identifying frame. We therefore ask him if the inspiration for Stranizza d’amuri is not only related to the intentions, but also to the directorial style. “I don’t know, but there was certainly a desire to look at things calmly”confides the director. “Then it was the editing that did the rest, with Federica Forcesi, the talented editor, who suggested the rhythm of life to me. A risk, because we are bombarded by editing, we think of TV series. But I believed in this and I wanted to everything to avoid hearing the camera, concentrating on observation”.
