Palco ex Macelli
written and directed by Manuela Cherubini for Elena De Carolis
Cinema is a fundamental ingredient because films, whether they are good or bad, walk alongside us and can be of good or bad inspiration; in any case, they open up visions, possibilities. Sputo begins with the description of a scene from “L’amante” (The Lover), a film by Jean Jaques Annaud, based on a novel by Marguerite Duras: a movie not particularly beloved by the women who inhabit Sputo, but one that leaves a trace to follow.
At the heart of the monologue, one of the memorable scenes from “Kill Bill” by Quentin Tarantino takes center stage: Uma Thurman buried alive. From this scene, the protagonist of our story borrows the martial movement in two phases, which will help her survive.
Nina is in search of the movement that allowed her to survive the horror she fell into, as happens to many, and from which she emerged without knowing how. Her search is guided by instinct and proceeds through encounters with people, books, movies, documentaries about animals, hagiographies of saints, studies of anatomy, psychoanalysis, and physics.