Opera Mundi

original title:

OPERA MUNDI

cast:

Raffaele Abete, Cristiano Scilla, Vladimir Stoyanov, Antonio Di Matteo, Beste Kalender, Andrea Patucelli, Marianna Mennitti, Raffaele Pisani, Pietro Picone, Hugo Laporte, Rossana Rinaldi, Marco Conti, Tiziano Bellingeri, Beatrice Bandini, Pietro Bolognini, Matilde Brandimarti, Carlo Alberto Brunelli, Irene Cavalieri, Angelo Testori, Emma Armida Pyka, Diego Bolognesi, Marco Servadei, Simone Casolari, Camilla Barabelli Sabena, Nicolò Rossi

screenplay:

Paolo Fiore Angelini, Christian Poli, Barbara Francesca Serofilli

cinematography:

producer:

Lavinia Turra, Andrea Kerkoc, Stefania Tschantret

production:

Avocado Pictures, ABC Arte Bologna Cultura, Icaro like-us, Oblivion Production, with the support of Regione Emilia Romagna, Fondazione del Monte, Comune di Bologna, Fondazione Teatro Comunale Bologna

world sales:

country:

Italy

year:

2019

film run:

97'

format:

colour

status:

In post-production (01/06/2018)

The Pioneer 11 spacecraft, sent many years ago beyond the confines of the solar system, unexpectedly returns to planet Earth. It holds a golden plaque, a message in a bottle, to talk of humanity to the unknown inhabitants of other worlds. A very modern contraption to explore, communicate, represent... like an ancient theatrical machine with wooden gears, where smiling children delight in games of shadows.
Just like in an opera house of time long past, Giuseppe Verdi's Rigoletto is on stage. We are at the beginning, the feast of the court, where the jester, who by virtue of his craft must please, makes a mockery of the courtiers, while the duke, lord of the court, an unrestrained libertine, declares his interest in a beautiful stranger.
The audience in the stalls is attentive and silent. 
Behind the scenes, mysterious children follow what is happening.
That theater, that stage, for three hundred years has talked of humanity, it's actions, it's feelings, through the art of representation it has presented man to men. The Verdian opera slowly gets lost in the silence of the night and
as quiet descends the place is gradually animated with the spirits of children, it's natural inhabitants from the beginning of time, and, for a little while still or at least until sunrise, the city populates with unusual souls, animals that remind one of another life in which men were a species mixed with many others. 
Yet inexorably the city awakens, it begins to fill and in the theatre the children and animals timidly retire.
Everything is now on the verge of rebirth, as in an enchanted garden all shines with promise.
The water element transports us into the city, we are sailing in search of a landing, our curious gaze lingers on the shores, flowing into the theatre and then outside to the city. We are accompanied by the joy of a new beginning, of the feast, a childish gaze and while everyone prepares for the new day, reaching their places of work, we lose ourselves behind the laughter, the game and the faces of those we meet.
Between Gilda, the beautiful stranger, the secret daughter of Rigoletto and the libertine duke, love is born. 
The child gives way to the adult, manly beauty and his timeless creative force.
So now in the ancient theatre, the men who inhabit it, the stage, the performances, the humanity all become a unique and perfectly arduous device. The future is illuminated by infinity, everything finds it's place, the mortal states of mind are quiet in the incessant flux. 
Rigoletto proceeds in his narrative, towards the theme of the curse, which accompanies humanity in it's search for truth and of itself.
Shadows and darkness govern the places of the soul,where the sun does not shine, and so there, on the stage, ends the abuse of power, overlooking the pain of the noble Monterone. The unfortunate cries of his daughter, invokes the curse, and the conflict that afflicts the destiny of mankind emerges from it's stupor. The pain that follows overwhelms everything. Perhaps there is a possibility of redemption, the masculine element of the conflict gives way to feminine grace, to beauty, to the hope of art. Gilda offers to sacrifice herself and in an extreme and generous gesture, renounces her life to save that of the duke. It's another beginning, a new possibility.
The audience's gaze, silent and discreet as on it's arrival, leaves the theatre and goes back to hiding in the folds of life. The stage expands to embrace the contemporary world, in a reflection that travels through time, the spirit, the Divine and madness.
The city itself becomes a composition of many places that we have visited, a place of the soul and memory. And precisely this game of cross-references between the theatre and reality opens us to a revelation, a nineteenth- century opera still speaks to us.