Intervju z avtorjem filma Leaving Home

Intervju z avtorjem filma Leaving Home

Preberite si intervju z avtorjem filma Leaving Home, ki je bil predvajan včeraj (21. junija) ob 21:30 v Galeriji ŠKUC.

 

What is Alessio’s Rutigliano vision of art? Watch the movie “Leaving Home”, that will be screened today (June 21st) at 21.30 at Škuc Gallery, and read the interview with the director of the movie.

 

Why did you decide to make this movie?

I was always fascinated by the idea of tracking a filmic parallel between the contemporary odyssey of African stowaways and the large – scale migration of Italians away from Italy at the beginning of the 20th century. However, examining the connections between these phenomena, so distant in time and space, presupposes to catch their inner mythopoietic nature. Every migration is a ritual process: as such, it’s necessary to evoke its gestures, its cyclic ceremonials, in order to transfer it into film. Even everyday gestures could become dance steps from an ancestral ritual, indeed. That’s the reason why I have used old cinematographic techniques with a contemporary approach.

 

What is the main idea of the movie

The main idea is to treat migration as a universal experience whose roots lie in our subconscious.

If three minutes of a TV program cannot narrate Homer’s Odyssey, the same goes for the contemporary odyssey of African stowaways. However, I strongly believe that experimental cinema is capable of it, showing the hidden connections between our deep memories: for three minutes, the story of man could be the story of mankind.

 

There are some sentences appearing in the movie, like The ship! Lost in the whale’s womb. What is the role of those keywords in the movie?

I was strongly influenced by a poem by Dino Campana – Italian poet of the 20th century – where the figure of the wayfarer is symbolized by a blind man holding a stick, unable to find his way. In “Leaving Home” the blindness of the wayfarer refers to the tragedy of Oedipus, in the darkness of the night, the ship where he travels becomes the great womb of a whale. The whale, present in many legends, is also a Freudian symbol of the maternal womb.

 

We can read in the description of the movie: The act of migration escapes from representation. Can you explain what does it mean for you?

I have talked of migration as a ritual. Even though it could be deeply studied by anthropologists, every ritual presents an irrepresentable  element. Representing it constitutes a dialectic of the impossible, just think of Artaud’s theatre. I’ve tried to highlight this “impossibility” by using fast fades between scenes, so the classical definition moving images, like in a word pun, here means “escaping images”, or “images continuously escaping from theirselves”.

 

Leaving home is an experimental movie. Did you have any scenario or it was an improvisation?

I love improvising, however for this film I had a precise scenario in mind: every scene has been planned in detail.

 

 

How would you describe proportion between message and visual pleasure in your movies? What is more important for you?

The discussion “form or message?” is as old as art history itself, you know. I must confess you: I am suspicious of artists who pretend to make pure abstract film. When a filmmaker, a painter or a musician makes an artistic choice, he expresses his vision of the world: in this sense, every artistic choice is “political”. It’s possible to escape figurativeness, to refute the linguistic – literary prison , to avoid an excess of abstract psycoanalytic interpretation: however, even these paths does not separate artistic expression from message. Just think of Francis Bacon: he escaped from the figurative in art, but at the same time he painted the most meaningful portraits of the last decades, like his contemporary crucifixitions.

 

What in your opinion defines a work of art?

Its uniqueness, indeed. You can try to recreate a soap opera, shot by shot: you will get a faithful copy. However, even having a $100 million dollar budget, you will never be able to recreate what a great artist like Carmelo Bene made with a little troupe in his bedroom.

 

Is the thought about an audience limiting or influencing you somehow in your work?

I know many directors haunted by the idea of an abstract public. “The public will not understand this”, they say,”This is not what the public want to see”. This paternalistic approach is so evident that often people seated in the cinema perceive this feeling, and feel fooled. If you want to do a favour to the public, please don’t care about it when you are shooting!

 

How would you describe your audience? What is your target group?

The concept itself of “target” has killed cinema. The mainstream film industry and distribution networks grind out lots of products aimed at particular age groups, social groups and so on. When I am shooting, I haven’t an ideal spectator. It’s only during the screenings that I realize with delight that people with different backgrounds can be impressed by the same work. Borges says “All men, in the vertiginous moment of coitus, are the same man”. Arousing this feeling in geographically distant viewers is the greatest ambition of a director.

 

What was the most challenging in creating this movie?

I have shooted with live soundtrack in order to synchronize every movement of actors to perfectly match the Sixth Caprice by Paganini. It was thrilling, but if you consider that there are more than 100 cuts in under three minutes you can imagine the effort! I will continue to explore this strong sinergy between music and images in my next film “A tragedy of body” thanks to the music by the French composer Igor Ballereau. In these days, I am also planning a cine-painting work in collaboration with the Italian painter Pierluca Cetera.

 

 

Do you have any additional story connected with working on the Leaving home?

The day before we started shooting, my old friend Mattia, who lives in Germany since many years, found a worn out pocketbook, dated 1944, with some German words written on it: it belonged to his grandfather, who was made prisoner during the WWII in  Hamburg, the same town where Mattia works today. This story has deeply influenced my work.

 

Interview: Anika Dziewior

Categorized: FMF 2012