“Coming to the Venice Film Festival is always wonderful, coming as a director for the first time with a fiction film has moved me a lot. The vision of my film in a room with the public today confirmed to me how much I miss the movie theater and how important it is especially to push the new generations who are ‘skipping a ride’ not to become disaffected and get used to going back to cinemas “. Alessandro Gassmann, in Venice to present his third film as a director and the first of a fictional work, ‘Il Silenzio Grande’, premiered at the Giornate degli Autori, and which arrives in cinemas from 16 September with Vision Distribution.
“The rooms – explains the Roman director and actor – are places where you can experience great emotions and above all you can meet in safety. I am in favor of the green pass idea, because the rules they have given us are strict, rightly, but necessary, and if respected they allow us to risk very little. “With an important observation:” I would like to say only one prayer – says Gassmann – increase the audience capacity a little. This is important, to allow as many people as possible to enjoy the joy of viewing in the hall “.
“This film is a caress, an empathic film with characters you want to embrace, especially now that we can’t do it physically,” says Gassmann describing to Ruetir ‘The Great Silence’, the film that the Roman director and actor brings to Venice, based on a play written by Maurizio De Giovanni who also signs the screenplay together with Andrea Ozza and Gassmann himself. The film tells the story, marked by conflicts, misunderstandings, confrontations, voices and silences of a family that is as exceptional as, at heart, chaotic and dysfunctional. It is a film about incommunicability and silence, sometimes redeeming.
“The feeling is that of living in a society that screams a lot and does not listen -explains Gassmann, telling how the interest in the theme of the film was born- A society where we are not given the possibility of silence, and therefore is confused because it understands what they yell at because it is itself screaming at the same time. ” And then, “Putting this theme in an era where there was a little less screaming seemed interesting to me, because silence, which can also be frightening in some ways, in this case is a saving silence because it brings these people who love each other a lot to really feel how they are “.
A film about relationships, that “during the pandemic they got worse because there was a highlighting of the problems already present in society -analyses Gassmann- What we thought to be one way turned out to be quite another way, and above all yes anger and the desire to overwhelm the other are heightened, and this is now the number one problem in our society. There is no longer a mediation, there is no longer listening “. Or rather, “it is very quick and not very detailed. And on social networks, especially for those who do not have the means to distinguish a false accusation from a real one, it can lead to dangerous and sudden reactions, we have seen it with the twenty years of fascism. It is a country which has shown that it has a fragile balance that must be maintained “.
In the film they act Massimiliano Gallo, Margherita Buy and Marina Confalone, flanked by the young rising stars Antonia Fotaras (Black Moon, The name of the rose) and Emanuele Linfatti (The predators, The shadow of the son). “It was easy to direct them because they are super actors, and they were very convinced of their roles – says Gassmann – and also we had in our hands a piece of theater and cinema that excited us at first reading. I worked improvising with them and trying to bring the characters as close as possible to what their proposals were, and I’m happy with the result. “