“My brother, my sister”: a film about the most indissoluble human relationship

For those who were lost My brother, my sisterthe film already landed on Netflix in 2021, with Alessandro Preziosi and Claudia Pandolfi, directed by director Roberto Capucci, will be able to enjoy the vision from the comfort of your home sofa Friday 25 November, prime time on Canale 5.

It is one of the most universal themes ever, the one on the relationship between brother and sister, and in these days Mediaset is offering us the reminder of the awaited appointment. We don’t want to say much about the plot, trying to maintain the surprise effect that every viewing should honor. After all, the title itself is didactic: the filmwritten by Roberto Capucci with Paola Mammini and produced by Lotus, puts the relationship between two brothers at the center, marking the emotionality on the gender difference. And it must not have been easy to put together all the ingredients of this cake, artfully mend the introspective puzzle of the characters.

The same director Capucci tells ildigitale.it: “My brother, my sister it really changed my life. It gave me artistic awareness and attention from the public and insiders. Humanly she made me understand what it really means to go through pain and be reborn. I still look at it with pride and a little nostalgia. Each actor has donated his skills and talent, but above all he has left a piece of soul to this story between tears, joys and truly experienced emotions. And for that I can only be deeply grateful.”

Nìkola and Tesla are two brothers through whom we will explore the role play, the contrast between masculine and feminine, the emotional implications, but also an indissoluble bond, it is no coincidence that the two names of the protagonists together evoke the unique and unmistakable identity of one of the most iconic characters in science. The humility and depth with which the actors approached this experience allowed the film to be exciting and believable.

But there is much more, not only the choice of actors was particularly focusedthe success of the film from the point of view of the construction of the characters was also possible through many consultations, meetings and observations with psychiatrists, patients and caregivers, as the director told us.

My brother, my sister: the cathartic choice of Preziosi and Pandofi

The choice of actors is a cathartic event for the director his movie. Director Roberto Capucci says:

With Alessandro it was love at first sight. It was difficult to find an interpreter for Nik who had all the characteristics I was looking for, who was credible in her role, but who at the same time had a human baggage of sometimes conflicting emotions.

One morning while I was already thinking of him as the protagonist, taking my daughter to school, I happened upon the billboard of Alessandro’s show on Van Gogh.

I nailed the car risking being rear-ended: at that moment I realized I’d found Nik! When I met him, I think my determination became clear to him: either him or no one else.

We talked a lot with Alessandro. It can be said that we “prepared” the film at dinner. We talked and exchanged pieces of life. He had a notebook where he wrote everything down.

Each character is always born from the combination of actor and director, but in this case even more we can say that Nik is truly the son of both!

While on the choice of Claudia Pandolfi, the director explains how the film was spontaneously choosing her. Capucci continues:

Claudia was a meeting of fate. I didn’t even have to choose her: it was the film that did it, because Claudia has a human and artistic honesty never seen before.

With her we understand each other even just with a glance, understood that I haven’t had so many professionals with whom I am much more familiar.

Claudia immediately wanted to give a clear voice to her Tesla. She deeply understood and loved her, she gave her dignity, without fear of showing her suffering, with courage and great respect.

A further important consideration that needs to be made is that Roberto Capucci directed Claudia and Alexander at a time when they are at the peak of their careers, at the peak of their professional career and they are in-demand actors. We wondered if it was difficult to direct two such expert and important performers on the Italian scene. The director says:

No, indeed. It was really easy to understand and find each other, because we all wanted to do the best for this film.

Alessandro and Claudia are the pillars on which I built my film, and directing them, as well as being a wonderful experience, is a great honor, because I believe they are among the most complete, capable and profound actors on the Italian scene.

Both have put a lot of themselves into the film, giving themselves and teaming up and “family”, and all of this shines through clearly in the film.

But for a level playing field we also wanted to listen to Claudia and Alessandro and delve into their ideas for the film “My brother, my sister”.

My brother, my sister: interviews with Claudia Pandolfi and Alessandro Preziosi

my brother

Claudia how did you come to this film?

So, I was immediately struck by the work Roberto had decided to involve me in, in a project that was so important to him and for which he had already devoted himself and prepared a great deal. When a director already has such a crystalline vision of what he wants to tell, it’s easier for me. Roberto was immediately complete in describing the character and the world we were going to represent. And so I let myself be led. Just let yourself be led.

What was it like working with Alessandro Preziosi? Here you have really “given yourself”.

We had already worked with Alessandro, but here we “gave ourselves away”, as you say, true. Thanks first of all to Roberto, who allowed us to reach that point of generosity that would allow us an authentic exchange. With Alessandro before this film, let’s say, we had only touched, and instead here – and I will always thank him for this – we were really able to reach a level of intimacy that surprised even me. Among other things, Roberto didn’t let us hang out before starting the film and, therefore, the arrival of Alessandro and his character on set was quite a tsunami. He was not only very good, but also very generous.

How important is the director’s hand?

For me that’s everything. Let’s say that everything only makes sense if there’s that hand that leads you, the director who decides to let you do things. And when this concession takes place, it means that I am adhering to the character as he imagined it, having so much information available that I can do it naturally. This director’s hand is essential.

Claudia, how do you consider the work done with Roberto?

I am a very empathetic person, this does not mean that all directors ask me for the same type of interaction, but instead Roberto immediately made me feel an integral part of the project and I consider myself an instrument in the hands of a director who decides how to play me and instead he made me feel as if I could be a conductor in my own way.

Somehow she assigned me the rhythmic session, that is, she decided that my job could be not only to interpret, to be an actress: it gave me the opportunity to intervene humanly in the relationship with my childrento be, as an actress older than the boys, in turn a little guide for them and it was the first time that happened to me.

It was very very interesting. Furthermore Roberto was immediately clear in asking me not to operate on clichés, to go deeper into everything that had already been done on the subject and it was very important for me and the others to experience the story of direct testimonies firsthand. We did a very important observation work and it wasn’t obvious, the listening between Roberto and I wasn’t obvious, it was really in-depth and then very useful for the result.

What did you feel when you met again?

I live a detachment from this work which means that at a certain point I am able to be a naked and raw spectator and in this film I saw a strong woman and I felt a lot of tenderness. I reviewed everyone’s work. Let’s say, I just can’t focus, so selfishly only on my work: I can see an overall work and, therefore, I saw myself inside a story and everything worked. I was moved and also very grateful to Roberto and my colleagues.

I was proud of what we had done and let’s just say that I saw myself mostly in the words of the people who commented on my work and above all the people directly involved in those stories and in short, their judgment is what gave meaning to everything.

Do you consider this film something different in your career?

In its own way, yes, because each film has a different approach, a different story, a different level of internal communication. But then in the end they all always serve to tell people’s humanity, then there are some films that do it better, some films that do it worse. But in short, well, I believe that the aim is no different from the others, the experience certainly was: it was beautiful, if I can sum it up in one trivial word, this film was ‘beautiful’ for me. It was wonderful to do it and the work that Roberto allowed me to do was wonderful.

My brother, my sister: let’s pass the word to Alessandro Preziosi

my brother

How did Roberto convince you to play this role?

The story that was proposed to me didn’t need someone to convince me, at first, I needed to grasp not only the definition of my character, but also the message that this film set out to give to the viewer: when Roberto came to see me at the theater I immediately understood that there was the possibility of reaching a goal together.

What struck you most about this story?

The story struck me on a very precise theme which is that of forgiveness, which is very dear to me and I believed from the first moment that through this film we could explore in a tragicomic way what sometimes drives us to not have the strength to forgive ourselves.

The strategy to bring out the best in your character?

The strategy used was to create as much confidence as possible between me, Claudia and Robertothus trying to create that feeling of brotherhood which was for better or for worse the spring of the whole thing told in the film.

You are an actor who has often changed “challenges”, from television to theater to cinema. Is yours personal and professional research or something else?

Let’s say that the biggest challenge is to feel truly free to enter the character, through the guidance, sensitivity and strength of a director: in this film my challenge was totally won because I found Roberto, who is a director, an artist capable of understanding what to get out of me and I believe that the greatest goal of an actor is to rediscover his talent, capable and changeable, above all through the long hand of the director.

My brother, my sisterthe last reflection is up to the public

my brother

After the long excursus in the experience on the set of actors and director, we just have to enjoy a good visionto leave room for time for reflection and to make the film a personal and personal experience, as spectators: this is the great gift of cinema.

Read also: The story of Luca Trapanese and his daughter Alba becomes a film: in Naples the shooting of “Born for you”

“My brother, my sister”: a film about the most indissoluble human relationship