(Adnkronos) - A Roma la mostra “Antonio Donghi. La magia del silenzio”
Margherita Buy parla all’Adnkronos del suo esordio alla regia con ‘Volare’
Margherita Buy parla all’Adnkronos del suo esordio alla regia con ‘Volare’
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00:00 [Music]
00:24 [Music]
00:38 Donghi is basically a traditional painter, he paints landscapes,
00:45 nature and figures, but within this traditionality,
00:51 Donghi elevates it through cuts that are photographic,
00:56 cinematic, therefore very modern, giving all compositions
01:01 a very particular cut and above all representing
01:06 these characters, these things, as if they were a platonic image,
01:13 a sensory idea, immersed in a silence,
01:20 as in the interval between two actions.
01:27 He takes this crucial moment.
01:29 [Music]
01:33 Donghi's representation is that of a clear, kind,
01:36 but ambiguous reality, with a simple and decipherable appearance,
01:40 but which hides a magnetic and magical sense of expectation.
01:45 The Merulana Palace is without a doubt the place where the
01:50 Cerasi collection comes to life. The Cerasi collection opens
01:54 with a work by Donghi, the Giocoglieri, and closes with a work by Donghi,
01:58 because the last purchase made by the Cerasi family,
02:01 the Cerasi Foundation, was the Lavandai.
02:04 So no place, more than this, could somehow hope to have
02:09 so many works all together, and we have produced the exhibition.
02:14 The Merulana Palace is a place of cultural production.
02:18 We really want to tell it as the place where culture is produced
02:23 and where communities are built. In this way, let's say,
02:28 Donghi's works also take us back to a city,
02:32 in a way they reconstruct a kind city, a city that is almost still,
02:37 aware of being an eternal city, and therefore nothing can shake it.
02:42 This, let's say, appeal to the return of a kind city is perhaps
02:48 the greatest aim that we want to somehow wish to the city of Rome.
02:53 [Music]
02:57 Volare arrives in the theater on February 22 of your debut as a director.
03:01 How was it to work behind the camera?
03:04 Disaster. No, it's not true. It was beautiful. It was a beautiful novelty.
03:11 I felt at ease. I didn't make particularly ardent choices.
03:21 I chose to tell a very simple story, but I really wanted this story.
03:30 It's my thing. I wrote it together with Loriana Leonde and Antonio Leotti.
03:37 I wrote it, it took me a long time, and in the end I matured this decision to do it myself as a director.
03:44 It was beautiful.
03:46 Working as a director has changed you characteristically.
03:49 What has it taught you from a private point of view?
03:52 Well, let's say that, like everything new, it's a little rebirth.
04:04 I mean, I've worked a lot, but when you face something that scares you,
04:14 that's not exactly what you know how to do, but you put yourself to the test and you manage somehow,
04:20 it's a rebirth. I feel more, again, with a desire to do things.
04:28 It's something I say in all fields.
04:33 To put yourself to the test a little, to do something different, it's not bad.
04:40 How was it to work with your daughter Caterina?
04:44 Working with Caterina, my daughter, was a great experience.
04:53 I had the privilege of being able to do this job.
04:59 I mean, putting your daughter and her, her mother, in this different relationship,
05:04 which is not something everyone can do, it's a privilege.
05:10 We've met on some things, we've met on others,
05:19 it was a relationship that gave us another way of seeing a relationship between mother and daughter.
05:32 Is the fear of flying an autobiographical thing?
05:35 The fear of flying is very autobiographical, but now it's something that's part of me.
05:45 If before it gave me a lot of frustration, now I've accepted it enough,
05:53 I take it with more tranquility, but it's become a part of me that I accept.
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