It was a dream for Italian actor and director Valeria Golino to play the role of feminist writer Goliarda Sapienza in Mario Martone's Cannes competition title "fuori".

Golino was director of the Cannes TV series "The Art of Joy" last year, based on Sapienza's book of the same name. This year, in Italian in Fuori (titled "External") - she played Sapienza in the 1980s, when "The Art of Joy" was rejected by the Italian publishing world, she eventually got into a Roman prison for stealing jewelry. Behind the prison, she established a deep connection with a recurring criminal and political activist named Roberta, played by Matilda de Angelis ("revoked", "citadel:diana").

Below, Golino and type About her passion for Sapienza - she met her at the age of 18 and in a film directed by Sapienza's former husband, Citto Maselli, and the chemistry with De Angelis, she told her that she said she "falls in love" on the scene.

Last year, you were the Cannes Film Festival of the TV series Joy Art of Joy, directed by Sapienza's highly erotic feminist novel. How was that experience?

For years, I've been obsessed with Goliarda's ideas trying to absorb her. As a director, I studied her, but most importantly, I immersed myself in her books, and I filtered through my personality. I had to constantly pick out everything that was interested in the book and missed other things while trying to keep her poetry intact.

How did your relationship with this fascinating character evolve from the "Art of Joy" TV series to "fuori"?

One of the strings in my bow and arrow is the fact that I know her, even if I am very young. Of course, as an adult, I would understand her complexity in different ways. Instead, I had memories of her when I was a teenager. But those memories include vivid images of how she moves, how she puts her hands on her hips. Her clothes. Of course, I was an actress at the time. About her external aspects. The way she frowned her nose as she smiled, her little eyes flew around as she thought of something, and she was surprised at the constant surprise of thinking about things.

At the time you were shocked by someone in Sapienza?

I remember she was a very smart person, intellectually intolerant of things she didn't like. But at the same time, paradoxically, I am very curious about others and so curious about life. Never judged. Unless they offend her, she lets things go through her. So, to me, Goliarda is not the aggressive person she knows. At least that's what I remember. I'm trying to convey it on the screen. I hope she welcomes her almost childish surprise at what happened to her.

Goliarda's passionate curiosity seems to be her appeal to her prison friends played by electric Matilda de Angelis. Sparks fly when you're all on the screen. Talk to me about working with Matilda.

Suppose we are really lucky to fall in love. By saying that, I mean it didn't happen either. As they wrote about those two characters, there may be many, they are very similar to what we are trying to convey on the screen, but there is no type of inspiration and chemistry we created. Because myself and Matilda are two heterosexual women, but we are still two actresses. And I don't know how to explain it to you, I fell in love with Matilda. This is how I worked with her. I really fell in love with her. Besides, I think Matilda in the movie does stand out on her own. She does have a viewable nature…I don't know what to call her. I mean, only very few people have it. She is a beautiful thing. She has power, a kind of effect, so it's obvious (even the character) that I saw her in that way. Of course Mario saw this, like all the very good actors, she was shaped under the director's eyes.

This interview has been edited and condensed to ensure clarity.