In the temple on Mount Helicon, the mythical home of the muses of the arts, Thalia is responsible for her other sisters. When a courier from the delivery service AmaZeus delivers a package to the temple, the muses are tempted by the new technology: Clio's amphora will grant their every request in exchange for their personal data. L'anfora di Clio was supposed to be the final chapter of the stage trilogy Le muse di Elicona, but since it was impossible to perform the play due to the lockdown last spring, it was reinvented as an opera movie, an audiovisual product that unites different languages, from film to opera.
(Turin, Italy, 1987), after receiving his law degree and academic studies, continued his education at the Actors Studios in Hollywood. His trilogy Le muse di Elicona created the “opera show,” a theatrical format in which opera, live music, acting, dance, and new technologies interweave in a narration that focuses on delicate problems for young audiences. Besides his activities as a director and stage and film actor, he also writes and hosts numerous TV shows. L'anfora di Clio (2020) is the first film he has directed.
L'anfora di Clio (coregia Riccardo Alessandri, mm, 2020).
“The topics of cyberbullying, fake news, and human relations in the era of social networks are dealt with, avoiding any form of demonization and instead shifting the attention to the awareness of consumers who, in particular if they are very young, need to be regulated, assisted, and taught how to use them. Naturally, we have to give the benefit of the doubt to this strange instrument, internet, knowing it can be a means for innovation but sometimes, unfortunately, also an accessory to dangerous detours. In tandem with all this, in a totally new and almost futuristic context, opera maintains all its expressive power intact and confirms even more clearly the visceral depth of its subjects, recounting universal feelings and timeless stories.”