Parlate a bassa voce
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Albania, the most impenetrable of the former communist countries in Europe. Isolationist, Stalinist and anti-revisionist. The weight of a memory that more than 30 years after the fall of the regime coexists with all the characters encountered in the film. Musicians, actors, directors, privileged and downgraded, tell the contradictions of a system that has the image of the dictator Enver Hoxha, who like a Great Father has given and taken away. A cumbersome past that accentuates the frailties and ambiguities of the young democracy.
Everything that today may seem a parody, was not at the time and Redi Hasa, a cellist musician, begins a journey that starts with memories, the fear of forgetting and the desire to stop time.
Sometimes, in people's biographies, certain dramatic facts of childhood, the guilt of one's own origin are so dramatically unique, that having been victims of them is also the awareness of a possible story of oneself different from that of others, absolutely extraordinary, where own shortcomings, misfortunes, shame constitute the premise for a fascinating personal novel.
Albania evokes barges, despair, poverty, escape and fear, but the journey of the people we spoke to does not belong to this landscape. They move in a different perspective, they look for new words to tell themselves and give meaning to their story; they aspire to get out of an interpretative cage, they claim a right to look at their youth with tenderness, in a low voice they tell about lives lived in fear, but they also want to save something. There is always something to save: youth, a song, education, communism as an ideal.
“Speak in a low voice "is the fragmentary attempt to tell that feeling that does not accept, as the only way out, to forget, remove the past, hide the shame and accept a future without conditions because nothing can be worse than what it was. And it is also not allowed to be too picky in the face of the new injustices of the young democracy, you can’t do it.
It is not possible to tell everything, but open some windows, go in and out. The camera works changing continuously route: corrections, deletions, omissions, events occurred on the spot and, in some cases, a real staging, deliberately structured in a artificial way, looking for an impossible synthesis. Redi Hasa accompanies us on this journey, his music compacts our vision, he absolves everyone in a compassion way for this collective hallucination, he feels part of this story too, even if something is lost forever, you can’t really come back; you overlook your own past, but you look at it from outside, distant. His music throws some seeds in depth, returns what the earth has given him, and adds some precious discoveries done in the other world. Or rather, in the world on the other side of the sea.