Italian Cinema Is Alive and Well”, says the Huffington Post. And we agree.
In her interview with Edoardo De Angelis at the London Film Fest, E. Nina Rothe called his film Indivisibili (Indivisible) “A Southern Italian, modern day, feminine ode to the languid tones of The Love Song of J. Alfred Prufrock that picks up where T. S. Eliot left us off. “and continued, “Indivisible owes its great beauty and charm to its simple message, which stands at the core of every shot, every bit of dialogue, every moment of the film, from beginning to end. This idea that we carry our loved ones with us wherever we go, which of course De Angelis takes to the absurd with the story of two siamese twins named Viola and Daisy who yearn to be separated, yet love each other unconditionally.”
Never mind that Indivisibili should have been Italy’s submission to the Oscars; they could have submitted Fire At Sea as a documentary, as both Paolo Sorrentino and I pointed out, independently, mind you (unless he copied my ideas and I’m not ruling that out.)
Rothe says it all with the title of her article: Italian Cinema Is Alive and Well. And Indivisibili is just one example of the fireworks that Italian cinema is setting off around the world.
I talked with De Angelis and his stars, twins Angela and Marianna Fontana at the Venice Film Festival for the film’s premiere (two lovelier girls you will never meet), and I asked De Angelis:
When did he realize he had such a big hit on his hands?
“The first time I knew was when the screenwriter pitched me the idea; the second was when I met the girls,” says De Angelis.
“They were the body and the soul of the story.”
Angela and Marianna Fontana are professional singers in real life and new to acting, incredibly. I asked them how they managed to perform so convincingly without acting experience.
“We identified so much with the characters,” they told me. “We read and read and read the script many times; actually before we even read the script we knew we wanted to make the movie.”
They say that they’ve been “living in a kind of symbiosis” their whole life, are very close to each other, and can identify with the pain of separation even though they aren’t physically connected. The story is about “amore veramente indivisibile” (truly indivisible love), they told me, and all three talked about a psychological bond that is even stronger than the physical one.
“We talk about reality in our films,” De Angelis said, “and they are made with little money, but we are free with the way we make them. Even with the mainstream film distributors we have a kind of freedom to produce the kind of realism that we want to.”
I Love Italian Everything 