“What did you see?” “A film!” “The question is obligatory. So is the answer, but…!” “That which was brought to light is a complex creature. Poetically dense, it seeks nourishment and drink from many sources. Take the music, unreleased tracks that bestow a shot of a crowded scene a seamless blending of emotion and grandeur, so as to offer the opportunity of layering poetry onto poetry to those who seek it.”
Mauro Marino - Paese Nuovo
“Change can happen. A new world is possible." …the sum of more contented single individuals is the foundation for a healthier society. More smiles and less frustration. It brings to mind the ballad “Todo Cambia” (Everything Changes) sung by Mercedes Sosa and used by Nanni Moretti to close his premonitory film Habemus Papam. It’s a reflection on work, on not just sitting around and complaining, on rolling up your sleeves, on betting on your innate desire to do and on your own personal calling, on believing in yourself to the very end, on never giving up, and on not losing heart over what happens along the way.”
Tommaso Chimenti - Rumorscena
“A talented director, Matteo Greco, pieces together days upon days of shooting, both staged and shot in-situ, arranging the scenes in such a way as to comprise a veritable piece of visual artwork. A definition that is more becoming of the documentary film, a category in which, at least in practice, the full-length film would be found, but of a different nature than the informative, or testimonial, or mnemonic repertoire. Instead, the subject matter is given over to an inner monologue, to the need for art and to produce art in a certain way, to the beauty of the settings and the people. And it’s even more still for every take on this film that doesn’t conform to a public expecting the standard perfection of cinematographic visions.
It’s the big screen for the poetic synthesis of not only an artistic project but also a human journey; an “empirical” investigation on mankind, on the artist, and on the possibility of change that breathes a renewed sense of dignity back into work and life. The culmination (or at least, one of the heights along the way) of a project born from the urgent need to depict contemporary discomfort.”
Emilio Nigro – Corrierespettacolo.it
“The film evokes the attitude that many spectators held at the turn of the last century with respect to avant-garde cinema. Those films that provided room for visual experimentation or came across as disjointed fragments of reality (Luis Buñuel and Salvador Dalí’s An Andalusian Dog comes to mind) caused – and it couldn’t have been any other way – conflicting reactions. Really, when the form takes the responsibility of expressing a substance that proposes a return to things themselves, reclaiming a certain naivety of vision able to restore the original coefficients of beings, then the feelings of dismay and of being an outsider generated within the average spectator don’t indicate a flaw, but rather a virtue.”
Giovanni Scarafile – Nuovo Quotidiano di Puglia
“Every time I talk with myself is the work of both a real as well as a virtual community. From time to time it shares places and spaces of interest, engendered above all by a common feeling: that creativity is not a prisoner of the system but rather one of the forces with which to reinvent it.”
Lorenzo Madaro – Repubblica.it
A man, an actor and his character in the dressing room of a theater. An “on the road” journey across Europe. A character who is both ironic and tragic, lost in the midst of everyday objects strewn throughout his days – shoes, cell phones, streets, stoplights – giving birth to an archipelago from a shipwreck, the refuge of a thought seeking to escape from itself.
He exists in a precarious balance between his thoughts which flow, oftentimes in a whisper, and the bombardment by external stimuli that bring him back to the reality from which he’s trying to escape, in an agitated soliloquy that is both comical and paradoxical.
It’s a film about the deep personal crisis experienced by a man, the actor and his character as they start out on a road trip across Europe, looking for different ways to live, relate to others and present theatre today. The movie is based on the experience of performer Ippolito Chiarello as he sets forth on a trip from Salento (in the southernmost tip of Italy) throughout Europe, trying to find himself, looking for a new legacy with his public, and new meaning for his profession. The movie was produced thanks to contributions from the public, crowd-funding and voluntary work by musicians.
With original music by:
Gianluca Longo, Michele D'Elia, Valerio Daniele, Raffaele Vasquez, Ennio Ivan Colaci, Brain Olotester, Playontape
The film was created and produced thanks to voluntary contributions by the public, the network of people who kindly offered their hospitality, and the musicians who came together to collaborate on the soundtrack, to which the Apulia Film Commission, and the Abitati Theaters and Teatro del Sale thereafter joined. Like with Barbonaggio Teatrale, the film is likewise based on the principle behind the research and creation of the entire artistic project: encouraging each person to experience art and the world in a critical, autonomous and unique way. Many thanks to all those who believed and participated in the project: Cerchio Di Gesso, Armamaxa, Thalassia, Crest, Tra il Dire e il Fare, Apocrifi, Teatro del Sale, Comune di Lecce, Comune di Corsano, Teatro Pubblico Pugliese, Provincia Di Lecce, pubblico pagante, Mario Bianchi, Chloé Cassandre, Mafa Mianmaud, Ciarra Nevitt, Gianluca Longo, Rocco Nigro, Michele D'Elia, Valerio Daniele, Raffaele Vasquez, Redi Hasa, Ennio Ivan Colaci, Playontape, Brain Olotester, Stefano Manca, Piero Andrea Pati, Francesca Santoro, Angela Ferramosca, Maria Mollicone, Laura Intiglietta,Walter Valente, Anna Lisa Nonna, Maya Kagawa And sincere thanks to: Marcella Buttazzo, Mariliana Bergamo, Teatro Politeama Greco, Anna Maria De Filippi, Franco D'Ippolito, Ammirato Culture House Lecce, Calliope Comunicare Cultura Lecce, Dina Risolo, Sandra Caiulo, Alessandro Delli Noci, Ivan De Masi, Carmelo Grassi, Giulia Delli Santi, Annalisa Del Vecchio, Ilaria Stefanelli, Maristella Martella, Dario Spada, Francesco Caracciolo, Gianfranco Riso, Carlo Ciardo, Luciano De Francesco per Idee a Sud Est, Ti Racconto a Capo, Luisa Montagnaro, Paola Leone, Titti Dollorenzo, Tonio De Nitto, Stefan Labuschagne, Francesca D'Ippolito, Festival Castel Dei Mondi Andria (Bat), Francesco Fisfola, Riccardo Carbutti, Toto Patera, Mercedes, Ignazio Abbatepaolo di Residui Teatro, Teatro El Montecargas, Angela Ferramosca, Manuel Chiarello, Sylvie Rolland e Michel Burstin de Hercub', Abele Longo, Michele Nevitt's Family: Ciarra, Carley Courtney Karmina, Architetto Carla Garozzo Gallerista, Staff Galleria Franzotti, Manuel Naso del Teatro Instabile di Berlino, L'Archivio 14, Ambra Circognini, Tommaso Cerulli Irelli, Simone Ugazio, Giulia Balzanetti, Paolo Guasco, Alessandra Della Guardia, Gigi Colaci e La Cova De Les Cultures, Alessandra De Marco, Max Caprara, Francesca Trinastich, Steven Forti, Carlo Loiudice, Roberto Romei, Sara Bevilacqua e Meridiani Perduti, Fabio Tinella, Aurora Tota, Edoardo De Piccoli, Franco Ferrante, Silvia Lodi, Otto Marco Mercante, Ketty Volpe, Antonello Taurino,Vittorio Continelli, Rosanna De Luca, Mariangela Chirico, Carla Visciola, Azzurra Martino, Masha Valentino, Francesca Montanaro, Rossana Marangelli, Giulia Vannozzi, Alessandra Rizzo, Giorgia Santoro, Francesco Massaro, Renato Grilli, Pascal Pezzuto, Giorgio Colopi, Guglielmo Bartoli, Fabio Rosafio, Annabella Tedone, Bruno Soriato, Piero Rapanà, Michele Napoletano, Marianna Di Muro, Alessia Garofalo, Marzia Ercolani, Elisabetta Aloia, Italia Aiuola, Cristel Caccetta, Cecilia Maffei, Lea Barletti, Daniela Scozzaro, Mary Di Pace, Federica Lenzi, Francesca Danese, Dario Cadei, Patrizia Miggiano, Francesca Citarella, Giusy Porfido, Sabrina De Mitri, Danilo Capone, Giacomo Gargiulo, Luca Pottini, Maria Rita Metrangolo, Luca Provenzano, Luca Pastore, Savino Italiano, Andrea Mazzarulli, Silvio Gioia, Roberta Mele, Nicoletta Achille...
The story is a long time coming, set in motion by Ippolito Chiarello’s desire to create a performance that would reflect the hectic pace of everyday life, as well as the possibility of reclaiming a new awareness and gusto in experiencing daily life as both a man and an artist.
Of great importance behind the writing of the performance was meeting Maksim Cristan, a Croatian manager who had decided to leave behind everything that tied him to his life in order to try and start all over again.
And there began his journey west, during which he lived as a vagabond for several years on the streets of Milan, earning his bread and butter by selling photocopied pages of the diary that documented his adventure.
Starting with the collection of these stories in 2007, his book, entitled fanculopensiero (fuckyouthought), was subsequently published by Lupo and then by Feltrinelli. It was from this very novel that Michele Santeramo drew inspiration for writing the script of the play, “Fanculopensiero stanza 510” (Fuckyouthought room 510), in which he tries to imagine a man who decides to leave everything behind and start anew.
The play came together thanks to director Simona Gonella and set designer Vincent Longuemare, and was finally brought to the stage by Ippolito Chiarello. However, a chilly reception pushed Chiarello to seek out other means for continuing his work. Thus began a new crisis – both personal and professional – that drove him from the theater in an attempt to get up close and personal with his public, meeting them on the street, as a vagabond, and trying to sell bits of his performance.
Thus the first steps were taken of what was to eventually become, over the span of a just a few years, its own movement: Barbonaggio Teatrale (Vagabond Theater). With time it came to involve over 150 actor-vagabonds, who have replicated the play hundreds of times throughout Italy.
It was from this experience that in 2011 Ippolito decided to take his performance on a trip, hitting the streets from Berlin to Madrid. And so a new adventure commenced with director Matteo Greco and project manager Elena Riccardo; one month “on the road” that led to the making of the film.
We like to think that our film goes beyond mainstream commercial parameters, and that a little dreaming and visionary thinking are good companions in order to appreciate it. We firmly believe in our project and in people’s innate desire to be moved. If you’re interested in showing the film at your home or school, or in your city, please contact us at +39 328 102 5863, or drop us a line at firstname.lastname@example.org