Italian auteur Mario Martone, who last competed for the Cannes Palm d'Or in 2022 with “Nostalgia,” will soon be back on the Croisette with “Fuori” a drama set in 1980 Rome that depicts a specific period in the life of feminist writer Goliarda Sapienza who is best known for posthumously published erotic novel “The Art of Joy.”

type Already received exclusive editing of the drama, produced by Indigo Films with Rai Cinema and Fremantle's "Apartment" and co-produced with Srab Films and in collaboration with Fremantle. Goodfellas is handling international sales. The film will be released in Italy on May 22.

Valeria Golino's role as Sapienza played in the 1980s in the 1980s in the 1980s, after the "Art of Joy" when she was rejected by Italian publishers, who ended up stealing jewelry in a Roman prison and secretly stole jewelry and politically convicted of stealing and political contender named Roberta de, played by Matilda de ta Matilda de Angels. The bonds deepened once they were all in prison.

By the way, Golino served as Cannes last year as director of the early 20th century TV series The Art of Joy.

Ma Tong talked type He said that regarding his vision for "Furi", it made the link between two people who intersected in prison for the first time but was also a 1980 "road movie" within the city of Rome.

Suddenly, after decades of neglect, Goliarda Sapienza has become an Italian IP. What angle did you choose?

Ippolita Di Majo (the film's screenwriter is also Martone's companion) has such a beautiful intuition: just look at the bond between these two friends for a summer, missing any trace of the biopic. The fact that she is the author of “Happy Art” is an element. But this movie is not a biography. That immediately made me excited. Be able to portray the idea of ​​these two great characters. The writer and this young woman who is both a small criminal and a political activist. I really like this. I saw two beautiful female characters. In 1980, there was this possibility that it would make this a road movie journey. This fascinated me a lot.

Talk to me about working with Valeria Golino, who has been elevating the writer’s work and her story to play a role. and working with Matilda and other actors.

As you can imagine, Valeria is filled with the spirit of Goliarda Sapienza. It was great to work with her, we always wanted to make movies together. She has real love and connection with other actors. I think it's important, you can feel a lot in the movie. I have to say that they really let themselves go. In a sense, the film has a long quality. Have a happy drifting idea. So it's obvious that from the direction of the movie, they really need to follow me. In short, the relationship is very active. I mean, we are filled with this great spirit of abandonment. And I really feel the actors are always willing to play with everything I come up with, even if they are special.

The visuals of "Fuori" are very elegant and truly evoke Rome in the early 1980s. Talk to me about working with your photographer, the great Paolo Carnera.

We've gone from the idea that this movie is seen as being shot on a movie, even if it was shot digitally. So, from the perspective of the years, we have cited cinemas. In this movie, I use Zooms, using a series of features from the 70s cinema that I no longer use. Even in formats, the movie has an aspect ratio of 1:66 (aka European widescreen) that is almost never used again. Again, instead of using VFX to create fake images, you need to have real images. Shooted in real places including prisons. Goliarda's apartment was the real apartment she had at the time. The Repibbia Penitutivary in Rome is a real prison, and the prisoners are real prisoners.

You used several tracks by British multi-instrumentalist Robert Wyatt, the founder of Soft Machines. Talk to me about this interesting choice

I never thought about shooting music, I never thought about it. I'm usually almost always using tracks. And I started researching it while editing. So I started editing and I was always looking for female voices to create a weird wild sound, a memory of Goliarda. But we will never encounter the right sound. Then, I didn't even know how, from my mind, Robert Wyatt came to me. The vulnerability, vitality and simultaneous anxiety of his voice are in his songs. So I think: Who cares whether he is a male voice, it is the soul voice. It was a soul, and suddenly I felt able to have a fierce conversation with the soul of Goliarda Sapienza.

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