“One two Three“: but now it is no longer the volume in the head that gets up, but a deep gaze, the son of pain, passions and betrayals. It is the gaze of Marilena, wife of the boss at the head of the Camporeale family; a woman subjugated by the weight of a family greed that begins to suffocate her, and which she intends to get rid of, to live free, with the lightness of love. That gaze, made up of eyes that speak, and mouths that keep silent, is also the gaze of Elodiethat from the beloved and danced songs has become the interpreter of someone else’s existence without ever exceeding or falling into the caricature.
With surprising ease and naturalness, Elodie strips off her own skin to wear Marilena’s; a new body hidden within what we all recognize, now elevated to bearer of a new human and historical history. A physical container, that of the singer launched by Friends by Maria De Filippi, who with the strength of acting we forget to belong to the singer of Andromeda and associate with the co-star of I eat your heartnew film by Goofy Mezzapesa produced by Indigo Film with the collaboration of Rai Cinema, released in theaters by 01 Distribution from 22 September and from January it will be on the Paramount + platform (find out what other films and series Paramount + offers and don’t miss our review of Ti Mangio il Cuore).
Revenge calls for revenge
One summer; three months: it is in the space of twelve weeks that Elodie made us dance, overwhelming us in her musical network with pounding refrains and engaging catchphrases first with “Bagno a midnight” and then with “Tribale”. But now, in the darkness of the room and illuminated by the light of a screen, the heart that beats in front of us and the body that moves, attracting planets and galaxies like a star, it is no longer Elodie’s; is that of Marilena.
A free spirit in the body of a prisoner woman of which Francesco Patanè’s Andrea Malatesta cannot resist, and we spectators with him. What takes body and soul from the farm of a village in the Gargano in 1960 is a ruthless race in the wake of revenge. He was eleven Michele Malatesta when faced with the defenseless bodies of his family he decided to become an avenger and a bearer of death against the Camporeale family. Eleven years old: too young to have been initiated into this world of shooting with guns, and no longer with the mouth; but in a colorless situation, painted by the fatal wave of the Fourth Mafia, eleven years is enough to strike and claim one’s family (we tell you in our special how Ti Mangio il Cuore tells the Fourth Mafia). It then took another forty years for Michele, but in the end his personal revenge operation has found its deadly ending. Or so it seems, because in a land of pride and threats, if the heart starts beating and the passion flows, everything is put back into play and the parties involved find themselves challenging each other again, even stronger than before, even more. more bloodthirsty.
Love and revenge in black and white
After passing through the Horizons section of the 79th edition of the Venice Film Festival (discover all the winners Venice 79), the disturbing and at times expressionist black and white of Ti mangio il cuore is ready to invade the cinema screen.
And Mezzapesa’s film could only find a more welcoming home or a more visually immersive channel. Taken from the book of the same name by Carlo Bonini and Giuliano Foschini and produced by Indigo Film and Rai Cinema, I eat your heart is a gallery of cinematic sequences built as neorealist paintings; photographs of a past world that still influences and lives in the wake of the present, coloring the pages of our history and culture with pitch black blood. The snapshot played on monochrome is a river that takes and enhances the power of two contrasting and opposite emotions such as revenge and overwhelming love. An embrace of life and death, an ancestral memory where contrasts attract each other to eliminate each other. And in this perfect union of a black and white of sublime beauty, here is the look of Elodie pierces the screen and hits the viewer; it is no longer the black and white that surrounds her in the video clip of Bagno a midnight; now Michele D’Attanasio’s photography is an empathic tool, a direct portal on the interiority of the character elevated to art; a transfiguration made possible also by the interpreter herself, here stripped not only of her role as a singer, but also of Elodie herself. Now it is Marilena: a perfect union, on the verge of metamorphosis with a woman who, from an integral part of the Fourth Mafia, finds herself betrayed, struck, embracing the universe of justice and complicity with the law.
The voice of talent
If before it was the voice modulated by emotion and translated into notes, now it is the eyes, the gestures, Elodie’s movements to become substitutes for a thousand unspoken feelings and feelings trapped between her lips. Dressed in black, Lady Macbeth with a fragile heart, her Marilena is a strong woman, who sees and hears everything, remaining blocked on acting for the will of others.
An invisible prison that Elodie still manages to communicate and make tangible to her viewer, surprising and reversing an outdated prejudice that would like singers to limit themselves to the musical sphere because they don’t measure up to their fellow actors. A belief now taken and torn apart by all-round talents such as Lady Gaga and more recently Harry Styles, and of which Elodie is a champion in Italian territory, demonstrating its lack of validity with a facial expression that is never out of place, but suited to the mood of the moment, and a calibrated and convincing interpretation.
Elodie builds her Marilena with the power of sensitivity and imagination, relying totally on the charge of the words of the screenplay; yes, because the real Marilena of her, her interpreter of her, was able to meet her only on the occasion of the premiere of the feature film. A postponed meeting but for this reason even stronger, sanctioned by a moved embrace, where the tears of memory for a painful past, mix with the bittersweet taste of a surprising and impactful performance. Just as impactful is the story of Marilena, whose heart was not eaten, but she was able to beat again and again, with a high pace to the second thanks to Elodie.