Country: Italy
Year: 2015
Duration: 72'
“One evening, without any particular expectations, I went to the Lavanderia a Vapore theatre in Collegno, headquarters of the Balletto Teatro di Torino, directed by Loredana Furno, and I saw Sexxx, the ballet by Matteo Levaggi. I’m not a fan of modern dance, but I think this is why my fascination that evening was sincere and convinced. Above all, I was struck by the way the choreographer was able to take the explicit gestures and movements of sexual communication and transform them into the language of dance. And since body language is one of the topics I have been interested in filming since that ‘scandalous’ Guardami, I was already sufficiently motivated to transform the ballet into a movie. I tried to shoot the ballet as though it were telling a story, using a strictly cinematographic style, almost as though the movie camera were another element of the choreography, often adding movement to movement. I think the movie-goer’s experience will be quite different from that of the spectator in the theatre.”
Biography
film director
Davide Ferrario
(Casalmaggiore, Cremona, Italy, 1956) graduated in Anglo-American literature. In the beginning of the 1980s he works with different cinema magazines and organizes film festivals and events. He is the author of many essays on cinema, of novels and several screenplays. He has directed short films and documentaries, and, among the long feature films, we would like to mention La fine della notte, Tutti giù per terra, based on the novel by Giuseppe Culicchia, and Guardami, screened in Venice in 1999. His novel Fade to Black, with fiction figure of Orson Welles, has been translated in many languages and in 2006 became an Oliver Parker’s film production of the same title. He partecipated at the Torino Film Festival with several titles, among which Materiale resistente (1995), codirected with Guido Chiesa, Sexx (2016), and Cento anni (2017). In 2020 he presented at the Festival the documentary feature Nuovo cinema paralitico (2020), and the following year the feature Just Noise.
FILMOGRAFIA
Non date da mangiare agli animali (cm, 1987), La fine della notte (1989), Lontano da Roma (doc, 1991), Anime fiammeggianti (1994), A Rimini (cm, 1995), Il figlio di Zelig (cm, 1995), Materiale resistente (co-regia Guido Chiesa, doc, 1995), Confidential Report (doc, 1996), Estate in città (cm, 1996), Partigiani (doc, 1997), Tutti giù per terra (1997), Figli di Annibale (1998), Sul quarantacinquesimo parallelo (doc, 1998), Guardami (1999), Comunisti (doc, 1999), Linea di confine (doc, 2000), La rabbia (doc, 2000), Le strade di Genova (doc, 2001), Fine amore: mai (doc, 2002), I Tigi a Gibellina (doc, 2002), Mondonuovo (doc, 2003), Dopo mezzanotte (2003), Se devo essere sincera (2004), La strada di Levi (doc, 2006), Tutta colpa di Giuda (2009), Piazza Garibaldi (doc, 2012), La luna su Torino (2014), La zuppa del demonio (doc, 2014), Accademia Carrara: il museo riscoperto (doc, 2015), Sexxx (doc., 2016), Cento anni (doc., 2017), Nuovo cinema paralitico (docufilm, 2020), Blood on the Crown (2021), Boys (2021), Umberto Eco - La biblioteca del mondo (doc, 2022).
Declaration
film director
“One evening, without any particular expectations, I went to the Lavanderia a Vapore theatre in Collegno, headquarters of the Balletto Teatro di Torino, directed by Loredana Furno, and I saw Sexxx, the ballet by Matteo Levaggi. I’m not a fan of modern dance, but I think this is why my fascination that evening was sincere and convinced. Above all, I was struck by the way the choreographer was able to take the explicit gestures and movements of sexual communication and transform them into the language of dance. And since body language is one of the topics I have been interested in filming since that ‘scandalous’ Guardami, I was already sufficiently motivated to transform the ballet into a movie. I tried to shoot the ballet as though it were telling a story, using a strictly cinematographic style, almost as though the movie camera were another element of the choreography, often adding movement to movement. I think the movie-goer’s experience will be quite different from that of the spectator in the theatre.”
Cast
& Credits
regia/director
Davide Ferrario
soggetto/story
dall’omonimo balletto di/from the ballet of the same title by Matteo Levaggi e da/and from Prelude for a Symphony in Black di/by Matteo Levaggi, Corpicrudi
fotografia/cinematography
Fabrizio Vacca
montaggio/film editing
Cristina Sardo
suono/sound
Vito Martinelli
interpreti/cast
Kristin Furnes Bjerkestrand, Manuela Maugeri, Viola Scaglione, Denis Bruno, Marco De Alteriis, Vito Pansini
produttori/producers
Davide Ferrario, Francesca Bocca
produzione/production
Rossofuoco
contatti/contacts
Rossofuoco
Davide Ferrario
davideferrario@rossofuocofilm.it
www.rossofuocofilm.it
Davide Ferrario
soggetto/story
dall’omonimo balletto di/from the ballet of the same title by Matteo Levaggi e da/and from Prelude for a Symphony in Black di/by Matteo Levaggi, Corpicrudi
fotografia/cinematography
Fabrizio Vacca
montaggio/film editing
Cristina Sardo
suono/sound
Vito Martinelli
interpreti/cast
Kristin Furnes Bjerkestrand, Manuela Maugeri, Viola Scaglione, Denis Bruno, Marco De Alteriis, Vito Pansini
produttori/producers
Davide Ferrario, Francesca Bocca
produzione/production
Rossofuoco
contatti/contacts
Rossofuoco
Davide Ferrario
davideferrario@rossofuocofilm.it
www.rossofuocofilm.it
