Gospel according to Mary, the new film by Paolo Zucca (The referee, The man who bought the moon) with Benedetta Porcaroli And Alessandro Gassmann, based on the novel of the same name by Barbara Alberti, who also wrote the screenplay together with Paolo Zucca and Amedeo Pagani, will be presented Out of Competition at the 41st Torino Film Festival.
Gospel according to Mary is a Sky Original film, produced by La Luna, Indigo Film, Vision Distribution.
Other than the two protagonists already mentioned, Benedetta Porcaroli in the role of Maria and Alessandro Gassmann in those of Giuseppe, the cast of the film includes Lidia Vitale (Anna), Leonardo Capuano (Gioacchino), Andrea Pittorino (Eliashib), Giulio Pranno (Angelo) Maurizio Lombardi (Herod) and Fortunato Cerlino (Priest).
Mary is a little girl from Nazareth. As a woman everything is forbidden to her, even learning reading and writing. But she dreams of freedom and wisdom. At the synagogue she becomes enthusiastic about the stories of the Bible, like Don Quixote with adventure novels. From the audacity of the prophets she has learned disobedience, she dreams of escaping on a donkey and discovering the world, going far away. She finds in Giuseppe a teacher and an accomplice. Their marriage is chaste, a screen, while he secretly instructs her, preparing her for her escape. But here’s an unexpected obstacle: Mary and Joseph fall in love. They are about to abandon themselves to passion, when the angel of the annunciation ruins everything. God’s plan and Mary’s plan do not coincide at all.
DIRECTOR’S NOTES (PAOLO ZUCCA)
Gospel according to Mary can be defined as a Bildungsroman, even if the thematic core of the story goes far beyond the account of the inner growth of its protagonist, calling into question philosophical, political and moral components of extraordinary complexity, such as free will, original sin , the power of knowledge, patriarchy, women’s self-determination. However, if I had to identify the beating heart of this cinematic story – which has undergone profound and fruitful transformations in the long journey from the pages of the novel to the final editing – I would say that first of all it is a love story. An asymmetrical, fragile love that is born and evolves in unpredictable and unprecedented circumstances. A love so tenacious that it challenges destiny, divine will, death. Gospel according to Mary it moves in an undoubtedly universal narrative context, that of the Bible, yet one of its distinctive elements is its rooting in a decidedly local geographical context, that of Sardinia. We have never thought of faithfully reconstructing the presumed historical reality of Galilee two thousand years ago, and even less of following the stereotyped imagery of an exotic nativity scene made of turbans and palm trees. Rather, we have tried to evoke, through the extraordinary archaeological and anthropological heritage of Sardinia, the common Mediterranean matrix of ancient agro-pastoral civilisations. This approach arises from the desire to create an original poetic universe, as sober in its staging of the archaic world as it is imaginative in its reworking of the biblical story. Gospel according to Mary is based on the alternation of tones, the stylistic mix between classic and fantastic, between sacred and prosaic, in search of that ‘wonderful simplicity’ which aims to characterize the project in all its aspects, from the scenography to the direction of the actors, from the music to the cinematography, from costumes to editing.