To Venise Elodie made his film debut with the film i eat your heart by Pippo Mezzapesa: a great emotion that he entrusted to an exceptional interviewer, Zerocalcarewith Best Picture Director Giorgio Viaro.
Zerocalcare’s first question was about the singer’s relationship with cinema, even as a spectator: “I’ve seen a lot of films that have helped me understand a lot of things about others and about myself”answered Elodie. “As a child, I thought I was Amélie Poulain but unfortunately I realized that was not the case. I am always fascinated by the possibility of being someone else, even for the duration of a film. “.
The film takes place in the Gargano, in the environment of the fourth mafia. And it was a demanding set: “Reading the script, I immediately thought it was a great opportunity to play a woman who is easy to judge, immersed in a patriarchal society, who does not have the possibility of really choosing how to live. And it’s a true story. I am a singer of pop and light music: I do entertainment. It seemed to me the occasion to tell another aspect of me which exists, more dramatic and hard. I hope I did it with respect”.
Zerocalcare asked Elodie how much of herself is in the character of Marilena: “It took a lot of my experiences, maybe ridiculous compared to the pain and violence you see in the movie.”replied the singer. “Through this story, I tried to heal my wounds and be honest. I tried to give the character a security and a fragility that I still have, a pain in relation to being a woman and being judged“.
The comparison with other great Mediterranean performers like Sophia Loren or Monica Bellucci, says Giorgio Viaro, resonates naturally: “I did not compare myself to these great women of cinema, that would seem pretentious to me. But I know that I have strength in front of the camera”. And on the relationship with co-star Francesco Patané, he says: “I had the chance to work with him, we established a relationship of trust by also telling each other the secrets. It was the only way to create this film in the gaze”.
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