Italian actress Irene Vetere said she was inspired by the characters of Italian neo-realism to compose the protagonist of the film “Notti Magiche”.
Paolo Virzí’s new film, “Notti Magiche”, was released yesterday in Argentina with the presence on screen of Irene Vetere, the rising Italian actress who plays Eugenia, an aspiring hypochondriac screenwriter, insecure and addicted to drugs and drugs.
“I looked for references in neorealism. He is a complex character, who does not know how to communicate with others. The most difficult thing was to find that tone because he has a completely different personality from mine. In the characters of neorealism I looked for these fears, just like in everyday life, “said the 19-year-old actress.
Virzí is one of the renovators of Italian cinema
After the great post-war period, with filmmakers such as Federico Fellini, Vittorio De Sica or Pier Paolo Pasolini, the Italian film industry fell into decline, portrayed in this film, which was later recovered by Virzi, Paolo Sorrentino or Matteo Garrone, among others.
“Notti Magiche” is set in Rome during the 1990 World Cup in Italy, a month in which people are excited by football and the three protagonists, Eugenia, Antonio (Mauro Lamantia) and Luciano (Giovanni Toscano), try to make a place for themselves inside the film industry.
In a hostile and precarious environment, young people are involved in the death of a famous and decayed producer, identified as one of the culprits of the low quality of local cinema, a fact that triggers this black comedy in which cinema shows its side more playful, but also the ruthless and macho.
The title of the film in Alta Definizione evokes the hit “Un’estate italiana”, by Gianna Nannini and composed by Giorgio Moroder, which was the official song of the 1990 World Cup in Italy. About this work premiered at the Rome Film Festival, the director explained : “There could be no more appropriate occasion than this party to present” Notti Magiche “, this new film of mine that tells the twilight of a mythical era of Italian cinema through the fervor of three young aspiring filmmakers who discover a majestic, fascinating Rome, mysterious and terrible “, Virzí said that in those years -after graduating in 1987 from the Experimental Center in Rome- he was taking his first steps in cinema.
“In« Notti Magiche »a well-known film producer is found dead in the waters of the Tiber. The main suspects in the murder are the three young aspiring writers, called to declare their version in the police station command precisely on the night of the Italy party -Argentina “, explained the director.
Film captures the beauty of a city
The film highlights intelligent dialogues and how Virzi’s camera captures the beauty of a city as old as it is hectic as the Italian capital is.
“In a tribute to the cinema in the sense that one cannot make cinema if one does not love it, as Paolo says. The film portrays the decadence a bit and that is something that, in a tribute tone, you cannot do if you do not she loves him. It is not a sweetened tribute, “added Vetere, an architecture student and a member of the Italian Ni Una Menos.
—In the film, the three young people arrive with great enthusiasm, but, after different situations, they lose interest in cinema …
—The three arrive having studied and seen the great postwar cinema. My character in particular is in love with French cinema, something that when you want to do in Italy you can’t. Each one sees a cinema that does not exist. It is realistic that when you encounter that environment you may not feel like continuing.
—What did Virzi ask you for your character in this macho context?
—In spite of the trajectory he has, Paolo listens and is very humble, something that I cannot say about some young directors. As for the character, I have discussed it with him and he generated a lot of interest. At one point in the film, Eugenia blames the men for the decline of the cinema. But on the other hand, when they ask her if she wants to be a director, they tell her that she should wear pants, like a man.
—It also shows the discussion that exists between art cinema and blockbusters …
“It is a discussion that will go on forever.” Author cinema in Italy is reviving. There are some very interesting things that people have seen with pleasure. The blockbuster, obviously, will always go better at the box office, but if we think about politics the same thing happens, at least in Italy. I don’t like blockbusters that much, I haven’t seen anything from Marvel, for example.
—You have family in Argentina, like almost all Italians?
“Yes, although I don’t know her.” And this is particular. People in Italy sometimes forget that they have a lot of family that emigrated. Today many see immigrants in Italy as something strange and as if they were invading us, something that of course is not so, and forget that the Italian people have migrated a lot.