Tuesday 19 May, 5.00 pm, Pasquino Art Center, Trastevere, Rome. Screening of In un futuro Aprile , a 2019 documentary directed by Francesco Costabile and Federico Savonitto. Cinematographer Debora Vrizzi CCS. The director will be in attendance.
A journey into the early years of Pier Paolo Pasolini, told through the voice and memories of his cousin, the writer and poet Nico Naldini. The film traces Pasolini’s years in Casarsa, in Friuli, during the 1940s: a formative period in which he discovers the Friulian landscape, its language and rural traditions, lives his first experiences of love, and develops his political and civic engagement. Through Naldini’s account, the film reconstructs a human, aesthetic and emotional world that would go on to shape the whole of Pasolini’s later work.
Narration by Daniele Fior. Cinematography by Debora Vrizzi CCS. Edited by Natalie Cristiani and Federico Savonitto, with original music by Paolo Corberi, sound by Havir Gergolet and Antonio Petris, and sound design by Eric Guerrino Nardin. Costumes by Vittoria Prignano. The film is produced by Remigio Guadagnini and Augusta Eniti for Altreforme, in association with Centro Studi Pier Paolo Pasolini, Cinemazero, Archivio Audiovisivo del Movimento Operaio e Democratico and Kublai Film, in collaboration with Home Movies – Archivio Nazionale del Film di Famiglia.
Il progetto è stato realizzato con il sostegno del Fondo per l’Audiovisivo del Friuli Venezia Giulia, Friuli Venezia Giulia Film Commission e Fondazione Friuli. La distribuzione cinematografica italiana è curata da Tucker Film, mentre le vendite internazionali sono affidate a CAT&Docs.
«Costabile and Savonitto have produced a more than interesting documentary about language — and they have done so while drawing extensively on iconographic material from a period of Pasolini’s life that still warranted closer examination. First and foremost, there is the spoken word of Nico Naldini himself: a nonagenarian of striking lucidity, acutely attentive to his own use of language, who revisits those years without cloaking them in nostalgic rhetoric, but with the ability to restore their vital weight. Then there is Pasolini’s own voice — willing to speak about himself insofar as it concerned what bound him to his work and to his relationship with a society from which he deliberately excluded the petty bourgeoisie, with all that the term implied, and justified his reasons for doing so. And then the poet, whose every line — including the one that gives the film its title — opened up spaces for reflection and dialogue. Last but not least, the word of a language (and it should be noted: not a dialect, given its far older and deeper roots) — Friulian. At a certain point, verses written and published in 1942 are read aloud today by those who speak that language daily, and one senses how those sounds, in passing from page to voice, acquire an added layer of meaning that underscores their continuing relevance. ». (Giancarlo Zappoli, My Movies)
