OFFICIAL SELECTION / FRENCH COMPETITION FIDMARSEILLE 2009

World premiere

   

GENNARIELLO DUE VOLTE

Gennariello deux fois

Élise Florenty

 

FRANCE
2009
Colour
DV
36’

Version originale
Napolitan, italian
Subtitles
French
Photography
Élise Florenty and Luigi Barletta
Sound
Türkowsky Marcel and Élise Florenty
Editing
Élise Florenty

Production, distribution
Élise Florenty

Filmography
ARRIBA! DESDE ABAJO, 2008
DESENSILLAR HASTA QUE SE ACLARE?, 2008
I’LL LIVE( WORK SONG), 2008
RÉIDIO SITI, 2007/2008
DANKE FÜR NICHTS, 2006


 

Élise Florenty’s project originates in a text by Pier Paolo Pasolini. As we all know, Pasolini was very much in tune with the world around him; in 1975, he published in the daily Corriere della Sera a series of letters to some imaginary reader, a 15 year-old Neapolitan teenager he called Gennariello, as an address to the future. Put together under the title Lutheran Letters – Educational Pamphlet, these often scathing texts are an introductory course to rebellion that tackles in turn family, school, the media, religion or politics.
Today’s film deals with today’s Naples: young boys are playing in a waste ground, a high school is occupied, fragments of the city are shown alternatively. Gestures, bodies, places, and a voice to connect them all: Gennariello’s voice, here and now, like a living echo to the voice that remained silent through the fake correspondence. This actual voice is to be heard, but set back off screen. Today, Gennariello would be as old as Pasolini was when he wrote the texts. Roles are reversed, and Gennariello, due volte provides the opportunity of a retrospective exchange. This response is often critical and invites us to decipher the present through the lens of these past letters, like a reversed process: what do they tell us about the present, about the commitments to honour, about the pitfalls, failures, utopias? How is this Naples that Pasolini imagined? How can one depict today’s adolescence, this in-between time? How can one film it?
By coming back to some places filmed by Pasolini, or by evoking some sequences, as a tribute or an updating, Gennariello, due volte chooses to uphold this suspension, this dual time. The film is punctuated with sequences that go the other way around, creating ghostly mutant bodies and placing us in a time span at once paradoxical and dialectic, retrospective and introspective.

Nicolas Féodoroff

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