As a film enthusiast with a soft spot for unconventional narratives, I find myself deeply captivated by Isabella Torre’s work, particularly her latest feature “Basileia.” Having lived and worked in Calabria for several years, her connection to the region and its unique culture is palpable in every frame of this dark fairytale.
Isabella Torre is currently in Venice, showcasing her debut film titled “Basileia.” The plot revolves around an archaeologist who, during the excavation of a tomb filled with ancient riches in the rugged Aspromonte mountains of Southern Italy, unwittingly summons mythical nymphs.
I had the pleasure of working on a captivating fairy tale, titled “Basileia,” that serves as the finale for the Giornate Degli Autori segment of the Venice Film Festival, commonly known as Venice Days. This enchanting production was nurtured at the Sundance Lab and is jointly produced by my partner, the talented director Jonas Carpignano (“A Chiara”), and Luxbox.
In the text below, Torre and Carpignano discuss with EbMaster the idea of exploring unconventional genres by crafting a story that blends ancient mythology with contemporary realism.
How did the story of “Basilea” germinate?
For Torre, Aspromonte transcends merely being a location; it takes on a life of its own as a character in the story. We, Jonathan and I, have resided in Calabria for quite some time, and Aspromonte is one of our frequent destinations. This enigmatic, deeply expressive locale carries secrets that many might not suspect. It’s not widely known, but those who are familiar with it often associate it with negative aspects due to its past as a refuge for criminal activities. However, there is so much more to Aspromonte than just that dark history.
Initially, what popped into my head were merely visuals – enchanting vistas of the landscape that seemed to dominate every inch of sight as we traveled by car, glimpsed through the leaves of trees. Upon meeting the locals, I found yet another layer of wonder, for their lives are so intricately tied to nature that it shapes everything about them. It’s almost as if this place exists untouched by the forces of modernity, globalization, and urban development that have altered much of the world. Yes, the children there possess smartphones and social media accounts like kids everywhere, but they also harbor a deep connection to their past, one I believe will endure forever. In many ways, Aspromonte seems to preserve its authenticity and traditional values, offering valuable insights into itself and its heritage.
“Does ‘Basilea’ with its depiction of nymphs, wolves, and mystical forces, while still being grounded in regional realism, fall under the category of genre films for you?”
Torre: I can’t easily classify it into a specific genre, more like an old, ominous story that our grandparents would share, which didn’t have a fairy-tale conclusion with a knight in shining armor saving the damsel in distress. Instead, these tales were grim and often confusing, sometimes leaving you puzzled, as though they were never actually written down but only passed on through word of mouth. They carried a haunting essence and felt incredibly real.
Do you have some cinematic references that may have influenced “Basileia”?
Torre: Indeed, there are numerous sources of inspiration for me, including visual arts. I found myself deeply captivated by Lucrecia Martel’s work, appreciating how she blends the surreal into her unique cinematic universe. It’s truly remarkable. I also immersed myself in Alice Rohrwacher’s films, as she is a friend and a female director whose work consistently inspires me. Furthermore, I was profoundly influenced by the film “Uncle Boonmee Who Can Recall His Past Lives” [by Apichatpong Weerasethakul]. This cinematic realm was my constant companion as I wrote the script and prepared for shooting.
Jonas, what was making “Basilea” like from a production standpoint?
Since 2015, Isabella and I have been sharing life in Calabria, and every film we’ve produced has had her significant involvement. From the get-go, she expressed a profound fascination with Aspromonte, a feeling I recall vividly when she shared her script idea following our return from there. She spoke of crafting a movie about nymphs, delving into the organic mythology unique to this region. When she did, I encouraged her, “Go ahead and write it. It’s an exceptional concept. We know the locations, we know the people, and your passion for this place is evident. Write it.” True to her words, she penned a feature-length film, and I was thrilled. Given the magnitude of the project, I suggested we first create a short film adaptation of it. Surprisingly, the following day she had already written a 12-page script based on the feature, which I found impressive. Consequently, we produced that short film.
Starting from there, our project gained significant traction when the feature screenplay was accepted into the Sundance Lab in the very same year that the short made its debut at Venice. This provided us with an incredible surge of momentum. However, just as we were ready to bring the film to life, COVID-19 threw a wrench in our plans. We had to halt everything and wait until the pandemic subsided. Now, post-COVID, we’ve finally managed to complete the movie that you’ve had the pleasure of watching.
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2024-09-06 12:47