The poem for three voices Three Women by Sylvia Plath was a originally conceived as a radio drama. The three voices, which belong to three women sharing the same experience of maternity, talk but don't respond to each other. The dialogue isn't among them, but between each one of them and her own conscience, in a story-confession about their reciprocal experiences. The first voice is that of a housewife who has a son: her story seems to be the happiest, the most natural and simplest one, but it, too, is overshadowed by subtle fears. The second voice is that of an employee who is expecting a baby, which she will lose, once again; her return home and her escape into work will not heal the wound and her feeling of abnormality and inadequacy. The third voice is that of a student who refuses the idea of maternity but carries her pregnancy to term, only to then abandon the baby; for her, too, the return to everyday life will be difficult and she will find it hard to regain serenity.
(Milan, Italy, 1950) in 1979 was one of the founders of the Filmmaker Festival. In 1983, he and Kiko Stella codirected his first film, Live. In 1987, he directed the documentary Nome di battaglia: Bruno and in 1990, he, Minnie Ferrara, and Kiko Stella founded Minnie Ferrara & Associati. His most recent documentaries include Oggi è un altro giorno; Amleto... frammenti; Faber; Comizi d’amore 2000; Chi mi ha incontrato, non mi ha visto and, in 2017, My War Is Not Over, many of which were presented at the TFF. In 2019 he directed with Francesca Lolli Voglio vivere senza vedermi, presented out of competition at Filmmaker.
(cortometraggi) Spaccati (1979), L’attesa (1980), La magia (1980), Nothing (1985) Nel lago (1986), Nome di battaglia: Bruno (1987), Il mondo chiuso (1988), Confine incerto (1988), Zanzare (1989), Lux interior (1989), Jamaica (1990), Stanza One-Eleven (1991), Le lacrime amare di Petra (1992), L’origine della ferita (1994), Oggi è un altro giorno (doc, 1995), Belli sciallati (1996), Il cerchio (1996), L’agnello di Dio (1996), Nothing is Real - Appunti su Nirvana (co-regia Giuseppe Baresi, doc,1996), Amleto... frammenti (1997), Scene da Pinocchio (1998), In tutto questo niente (co-regia Collettivo 57 dello IULM di Milano, 2012), Fino a quando l’ultimo - Sulcis, storia di una resistenza operaia (2018). (documentari) Italia ‘90 - Lavori in corso (1990), Faber, co-regia Romano Giuffrida (1999), Comizi d’amore 2000 (2000), I sogni degli Elfi - Viaggio nella storia del Teatro dell’Elfo (2000), Cuori all’assalto - Storia di Raffaele e Cristina (2003), Riccardo (2004), Chiamami Mara (2005), Don Chisciotte e... (2006), L’attimo assoluto (2009), Il colore del vento (2010), Milano 55,1 - Cronaca di una settimana di passioni (2011), Sull’anarchia (2014), Chi mi ha incontrato, non mi ha visto (2016), My War Is Not Over (2017). (lungometraggi) Live, co-regia con Kiko Stella (1983), Occasioni di shopping (ep. Provvisorio quasi d’amore, 1988), Veleno (1993), Illuminazioni (2004), Voglio vivere senza vedermi (co-regia con Francesca Lolli, 2019), Tre donne, di Sylvia Plath (co-regia con Francesca Lolli, 2021).
(Perugia, 1976) director, video artist, and performer, graduated from the Arsenale Theatre School as an actress, participating in numerous performances (Il gioco dell’epidemia by Eugène Ionesco, Il berretto a sonagli by Luigi Pirandello, Pulp by Charles Bukowsky, La chiesa by Louis-Ferdinand Céline), and received a degree in set design from Brera Academy, in Milan. Her graduating thesis was a documentary about the New York photographer Andres Serrano and from that moment on, she dedicated herself entirely to video art, performance, and directing. Her research concentrates on gender diversity and social-political topics. Her most recent works include Nostra signora del silenzio (2018); Dentro la casa (2018); Dolorosa Mater (2017); Orgia o Piccole agonie quotidiane (2016); and Just Want to Be a WoMAn (2014). In 2019, she and Bruno Bigoni made Voglio vivere senza vedermi, presented out of competition at Filmmaker.
Cleaning my Identity (video performance, 2013), Abaddon (video performance, 2013), Dove sono finite le lucciole (video performance, 2014), Artist Must Be Beautiful in 2014 (video performance, 2014), Just Want to Be a WoMAn (video performance, 2014), Un nodo (video performance, 2016), In uterus - Following patriarchal beauty standards since 1976 (video performance, 2016), Orgia o Piccole agonie quotidiane (cm, 2016), The Dying Lilium (video performance, 2016), No Place For a Different Language (video performance, 2017), RiGenerazione (video performance, 2017), Dolorosa Mater (video performance, 2017), Fausto (cm, 2017), Dentro la casa (cm, 2018), Espiazione (video performance, 2018), Nostra signora del silenzio (2019), Voglio vivere senza vedermi (co-regia Bruno Bigoni, 2019), HR+ (video performance, 2020), Tre donne (co-regia Bruno Bigoni, 2021).
“We believe that the formal path we chose to film this poem increases its communicative power. We think that the physical identification of the three characters, the possibility to film their bodies, their gestures, the visualization of their imagination, can add an emotional plus to the simple reading of the text. There isn't much action, it's true, but it's not a problem in this narration. We work on thoughts, words, the imagination. The places where we have set the three stories are, above all, mental places, places of memory. Just like the objects and the locations, they aren't functional to the story but they are symbols of what they represented to each one of the three women talking.”
CONTACT: Francesca Lolli firstname.lastname@example.org