Tre generazioni di dive unite per Jim Jarmusch e il suo "Father mother sister brother", in concorso alla Mostra di Venezia. Sono Charlotte Rampling, 78 anni, icona inglese del cinema europeo, l'australiana Cate Blanchett, 56 anni e due Oscar, e Vicky Krieps, 42 anni. Intervista della nostra inviata a Venezia Arianna Finos - Riprese e montaggio di Rocco Giurato
00:00This is a very image of beauty, what a wonderful, how is it for you to be here together?
00:07Wonderful.
00:07Yeah.
00:08In great beauty, because that's what Italy and Venice, if you're talking obviously about the festival, it's so beautiful, such a beautiful festival.
00:14We're beautiful too.
00:15And you're also beautiful.
00:16Oh God.
00:17But tell you, but tell you, I love my daughters, I love my daughters.
00:21To talk about secrets, someone said it's maybe about secrets, one secret, and maybe it's not so much a secret, but when we were shooting, I was always secretly watching you.
00:30Secretly.
00:30Enjoying.
00:31Yes, that's creepy.
00:32I was just enjoying watching.
00:33Yeah, a bit of a stalker.
00:34Yeah.
00:34I was enjoying watching your face and how you were taught.
00:36Same, absolutely, I know.
00:38And how you were taught.
00:39Masterclass.
00:40It was so nice.
00:41Yeah.
00:41Really, really.
00:42Yeah.
00:43And, yeah, we won't tell you backstage, because backstage was so beautiful on this film, but you're not going to know it.
00:49You always want to know what goes on backstage, but we're talking about the film.
00:52The film, it's somewhat very poetic, because if you love Jarmusch cinema, you can't not love absolutely this movie.
01:04And what was interesting to me was it's funny, it's deep, it's a way to think to our relationship.
01:14So I was wondering, I don't know if we want to answer, but we all have a special relationship in the family that is a little bit weird for reasons, an old uncle.
01:26So did you think to someone of your even large family, shooting the film, about a relationship with someone of your family that was strange?
01:41I felt that the characters and their dynamics and the strange ritual that they get together once a year and perform was so out of Jim's mind that I couldn't really connect it to any familial relationship.
01:55that I had. It was so beautifully described on the page. And it was, yeah, the atmosphere was so strange.
02:02With like, as you meant, poetry, it was like poetry. Poetry, when you read it, you can't, it's so, it takes you, it takes you on another level.
02:10So you, you know, you cannot identify, but it just is doing something to you, which you're seeing coming into a different vision of situations.
02:18And it was so beautifully written, the script, wasn't it, that it was like, whoa, it's just, it's all there.
02:23Now we just have to come in and become these people. And Jim is so gentle and Jim is so encouraging because it all just flows out of his head.
02:30because he said, I don't know why this idea came. He said, I said, well, how do you have an idea like this, Jim?
02:35I don't know. It just came to me, he said. And then you all just came to my mind and could we do this film together, do you think?
02:43And it's sort of, isn't it?
02:46And you didn't want to talk about all that stuff.
02:48No, I didn't want to go into any, any sort of psychological things or didn't want to go into an analysis of it.
02:54Yeah, it was just there. And we were just there. And it just, there was this perfect timing and all that and it's perfect, yeah, it's pitch perfect, I think, actually.
03:06And also what I like, it's the dynamic because in this episode, there are three women, female characters.
03:14So I was for you to explore this together because it's not usual to have a movie with three wonderful actors together,
03:25playing together a relationship that is so deep like the motherhood because, okay,
03:30but it's, I think that it's one of the most important relationship in the life of the person.
03:36So I was for you to explore this, this subject together.
03:40It was not, it's not in, it's not in his writing, it's not in his thinking, so we didn't think about it.
03:45Yeah.
03:45Because we were just, we were just, we were, we were, we were in, in the rhythm, really in the rhythm of Jim's heart and mind.
03:52And so, we just thought, we just, didn't we, we just were there, there was no, nobody explained anything because there's nothing to explain in the film.
03:59It's all there for you to feel or not, because there's lots of silences and you think, what is this?
04:03Who are they? Why are they behaving like this?
04:05But it's actually, it goes so, so far back into perhaps the one thing that you could say is to how can we keep our family alive?
04:13So she creates this ritual, this mother, so that they do come and see her, that they all have this moment.
04:18They know all about it, they know what the codes are and they just, they play it out and they're together.
04:24And so she's satisfied, are the daughters satisfied, who in the end, they're still together.
04:29I think that one of the subjects is the difficulty of communicating in the family.
04:34And I think that the situation now is worse because of the social media.
04:37I have children now when you are, okay, now it's time to eat, please.
04:42No?
04:43It's interesting that he didn't write a mother with two young children.
04:48There's something about a deep time lack of communication or they've ceased in the mother's eyes to, they stopped developing around the age of sort of 16.
05:00And now they come back and they're constantly playing the young, the little girls at the tea party.
05:07And there's something quite childish about it, even though you get a sense that, you know, Timotea in her everyday life is incredibly functional and quite successful.
05:17And Lilith has a whole history that is, that no one in the family really knows about.
05:24And they come back together and then play these quite, you know, retarded roles.
05:31Like they're kept in aspic.
05:33And so I think they're communicating about who they used to be rather than who they are now.
05:38So the technological aspects and the modern world in a way is kept out.
05:44The fact that the mother writes books and the romantic novels and there's something, there's like a fairy tale quality to it that is very sort of anti-modern world.
05:53Which is very Jim, isn't it?
05:54The fairy life, the fairy tale, the fairy tale theme that runs through it, the poetic fairy tale, the symbolic, the symbolic of life rather than the reality of life.
06:06How we can actually survive through, if we believe in forms of rituals, you know, that have been gone throughout the centuries, if we hold on to certain things.
06:15Maybe we can make it work so that a relationship is kept going, but even in very strange ways like this.
06:22Just seeing once a year and we just, it's all formal, it's all, as you say, it's all just sort of play acting, actually.
06:28I do agree. I have kids and it's a problem with the technology.
06:32But I think families have always been a place of lies and horrible things have happened in families always.
06:41Maybe the worst things have happened in families.
06:43And we all know it, you know, it's not really always a safe place for a lot of people.
06:47It has nothing to do with social media.
06:49And I think he's showing it in a very subtle and respectful way without pointing the finger and showing real drama.
06:58Nothing bad happens.
07:00But he does speak about that.
07:03What is your family?
07:04Is it a safe place?
07:06Is it, do we need to stick to it because that's where we were born?
07:10Or are we allowed to go and choose our own family?
07:13You know, I mean, I haven't seen the film yet.
07:15But I think...
07:16But also, do they, I mean, in all three sections in the triptych, the children don't really know the parents and the parents.
07:24Yeah.
07:24It's a very hard thing to keep a family together.
07:26But that's where your first initial learning comes from.
07:29That's where you're connected to from your birth.
07:31Yeah.
07:32Through a very, very early childhood.
07:34That's who you are.
07:36And then you have to deal with that, who you are.
07:38And it might be nothing to do with what your family is about.
07:40You know, the most dreadful violence quite often happens within the family, and that always has been throughout history.
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