Author: Enrico Magrelli (edited by)
Publisher: Centro Sperimentale di Cinematografia; Sabinae
Issue no. 604 of “Bianco e Nero” magazine largely features Liliana Cavani, who reveals herself – as artist, intellectual and woman – in a detailed interview with Enrico Magrelli, the issue’s curator. Words are, on occasions, quite meaningful. And those of filmmakers can be valuable or illuminating. Especially when, in retrospect, they vivify past journeys, creative trajectories, unexpected opportunities, planned or impromptu choices, suggestions and narrative needs. This interview is the centerpiece of a new journey of discovery and rediscovery of the opus of a remarkable filmmaker, who graduated in Film Direction at the Centro Sperimentale di Cinematografia during a time when very few women worked behind the camera; she was a tireless advocate of high-culture and high-quality television in RAI, a documentary filmmaker of distinction, a scholar of science and spirituality (from Galileo to St. Francis, and Milarepa), a director of controversial masterpieces such as I cannibali, Il portiere di notte and La pelle, and author of television programs about great figures such as Albert Einstein and Alcide De Gasperi. Unsurprisingly, her upcoming film bears the title L’ordine del tempo, inspired by Carlo Rovelli’s eponymous book, once again crowning time as one of the constant underlying themes of all her work. Time propels the events of her characters’ lives; it marks the thoughts of scientists. Time is the intangible and relentless measure of those who work against the rules and order of the eras in which they were born. Time escorts resurfacing memories, often tragic and unbearable. Time incorporates those “cultural revolutions” that have always been so dear to the director.