First-time Italian director Giulio Bertelli, who’s clothier Miuccia Prada’s son, made what might be this 12 months’s most offbeat Italian characteristic movie debut with “Agon,” an allegorical drama that follows three feminine athletes competing in judo, fencing and goal capturing inside a fictional live-streamed international sports activities event referred to as the Ludoj 2024 Video games.
“Agon” (which takes its title from the Historical Greek phrase for a battle, contest or competitors) was impressed by the historic figures of Joan of Arc, Cleopatra and a Russian cavalry officer referred to as Nadezhda Durova. The experimental drama examines the social pressures of aggressive sports activities, the usage of know-how and social media utilized to sports activities, and the hyperlink between sports activities and struggle, offering a recent and sensible take a look at up to date athletic agonism.
The movie stars Italian judo athlete and Olympic Gold medalist Alice Bellandi and “La Chimera” stars Yile Vianello and Sofija Zobina.
Following its premiere within the Venice Movie Competition’s Critics’ Week in September, “Agon” was launched in Italian cinemas, kicking off Mubi’s Italian theatrical launch slate, and has travelled broadly on the competition circuit together with the Rio, Thessaloniki, Geneva, and Brisbane fests.
Bertelli speaks to Selection about his private connection to the movie’s material and the way he introduced Mubi and The Match Manufacturing facility on board as producer, Italian theatrical distributor, and international distributor.
You’ve been concerned with the Italian crusing group that competed within the America’s Cup. Is that what prompted you to depict the world of extremely aggressive sports activities?
Sure, I positively have a private connection to this movie. However there may be additionally a broader context. It’s true that “Agon” is centred world wide of sports activities. And naturally it’s open to interpretations. However I additionally use the sports activities world backdrop of those fictional Olympics which are nearly a geopolitical platform, to make a mirrored image on the position that aggressive sports activities have taken on over the previous century. And likewise to speak extra basically in regards to the feeling in lifetime of not having the ability to obtain one’s objective. So, at one stage it’s additionally the story of three youngsters who’re unable to do what they need. That is noticed very in a different way with respect to every character, contextualising this journey within the preparation for competitors in a minor sports activities class of a hypothetical Olympics. Then there’s the broader difficulty of macro connections between how we got here to name sports activities what they’re as we speak. The place does that comes from? And the connection between struggle, violence, and sports activities.
Speak to me about your resolution to solid actual life world champion judo athlete Alice Bellandi within the movie.
I initially conceived “Agon” as an animation venture. Then, once I determined to make it live-action, I had two huge issues. One was: how do I give it a sensible flavour that establishes belief with the viewers? For fencing, I knew I might use a stunt particular person as a result of in fencing you put on a masks. With capturing, I additionally knew that it was not a giant drawback as a result of the athlete must be very nonetheless. However on the subject of judo, I knew I needed to discover a actual judoka. Then actuality surpassed my expectations once I met Bellandi, who agreed to be within the movie. Then 5 months after we shot she received the Olympic gold medal in Paris.
In simplistic phrases, “Agon” explores the connection between sports activities and know-how, which could be very clear in aggressive crusing. Speak to me about the way you weaved this into the movie’s narrative.
I’m within the relationship between sports activities and know-how, however in a broader sense, which is what I feel I’ll proceed to take a look at sooner or later. What actually pursuits me is the rapport between the natural world and know-how, “natural” pertaining to the physique on this film. One instance is the surgical procedure [scene] within the movie, which is clearly a really crude scene. For me it’s crucial as a result of it’s not a metaphor. There are different administrators who’ve addressed this theme [of technology and the body] utilizing metaphorical gadgets which have formed my creativeness. However I’m fascinated by taking a look at this [rapport] the place it doesn’t exist as a metaphor, however exists purely as actuality: a robotic that digs into the flesh, into the blood.
Speak to me about your relationship with Mubi. How did you carry them on board in such a giant approach?
Really, Mubi was concerned in “Agon” because the starting, earlier than anybody else. After I wrote this story as an animation venture, I wasn’t really actively making an attempt to get this movie off the bottom. I met Efe Cackarel in 2017 when Mubi was a lot smaller than it’s now. We talked about it. I discussed that I had this story in thoughts and I’d wish to perhaps make motion pictures sooner or later. He stated: “I’m . I’m additionally taken with beginning to produce sooner or later and never simply be a platform. Why don’t you write the screenplay?” So I wrote the screenplay and began speaking about it immediately with Mubi. At first we began growing it immediately in London as an animation movie, however then we realised that it could be too costly and sophisticated to do it as an animation venture.
In the meantime, my life was altering. I believed: “perhaps this might really be my first characteristic movie. And Efe, rightly, stated to me: “Look, you want you to discover a producer to take this venture ahead. However we’re on board.” So, with [Italian producer] Max Brun, I launched myself to Jules Daley, who had simply come out of RSA Movies. She beloved the venture and determined to assist me and turn into my producer on this movie. So, little by little, “Agon” was born. Then, when the venture started to take form, Mubi got here on board. From the very starting, there was the concept that they’d distribute it. However additionally they turned an fairness investor. At that time, Mubi had acquired, or was within the strategy of buying, The Match Manufacturing facility. So, to my nice pleasure, I discovered myself working with The Match Manufacturing facility as a world gross sales agent. Then they stated: “As a substitute of promoting the venture, we’ll distribute it immediately in Italy, as a result of they needed to start out distributing in Italy.”
This interview has been edited and condensed for readability.
Courtesy Filmitalia
