An elderly man, is stretched out on a table, his naked body is covered by a thin gauze. A young girl observes him in silence. Something unusual will happen among the two. The time is indefinite and it's operated as a Carillon and it will have unfortunately, a limited duration.
The idea of the short movie is born as suggestion from the synonymous famous theme of the Roman Charity of the Filial Charity.
In the specific one, the pictorial subject proposes a daughter that nurses the elderly sick and dying father.
This scene has always struck me for his double contradictory position, on one side, the benevolent love of a daughter for his own parent, from the other an erotic ambiguity.
All of it brings to a tension and a raised anxiety. And it is really this Punctum that "it hurts" to interest me, because in this work they have been dejected the three protective barriers of the Modesty, of the Good and of the Beautiful that had to preserve from the perturbing one of the Thing, that safeguarded caring to the correct distance from that dangerous Das Ding, a center that devouring and appalling of sex and of death that swallows us without pity to the inside without filters of delicacy.
I have wanted to partially inspire me to this visual suggestion to trespass even more in unknown territories, coming to touch elements of a love that turns into violence and that leaves the spectator in an amletic's doubt: who is the young girl and above all, what kind of relationship has with the old one?

Caritas romana: filial charity

The story, taken back by the Latin historian Valerio Massimo in one of his writings, the De Factis Dictisque Memorabilibus. Book IX, has for protagonists the elderly Cimone and the virtuoso Pero.
According to the legend this last, being her father to the arrests, condemned to die for hunger, it brings him of hidden to the jail to feed him with the only possible mean, the milk of her own breast. And here is the happy ending: a jailer, after having discovered the fact, it communicates to the commander which, touched, he releases the old one.
And between the XVII and the XVIII century that this subject has its maximum diffusion in painting. Italian before and Flemish then they grieve to the theme and they render explicit it on the cloth, filtering each with the proper one
The illustrious names don't miss, from Caravaggio (1571 -1610), that inserts it in the Seven works of mercy, to Rubens (1577 -1640); Vermeer (1632 -1675), on his behalf, it represents it lesson of music a small suspended painting to the wall, work in the work, homage to the story of However and Cimone.
The select moment is that of the nursing of the old one, tense to the desperate search of the liquid niveo, synonymous of life. The heat provoked by the terrible deprivations is express with violence from the man, that emits an insuppressible desire to withstand the death in every gesture of his and it throws him without hesitation, with every droplet of energy remained him in body, toward the salvifico filial womb.
The woman, is represented always instead with the turned look in direction of an external point to the scene, intent on perceive every smaller sign around the return of the jailers. Tension and anxiety are it''s peculiar characteristics: only in the picture of Rubens the fears of the girl seem to vanish, replaced by a boundless tenderness transmitted in the established visual contact with the face of her parent.


Title: Carità
Duration: 7:30 min.

Technical-artistic info

Subject and Director: Luca Mazzara
Actors: Emanuela Serini, Romano Rocchi
Screen-play: Luca Mazzara
Photography: Luca Mazzara, Diego Labonia
Editing: Luca Mazzara
Head quadrates electrician: Diego Labonia
Music: Giovanni Becce
Production: Luca Mazzara
Nationality: ITALIA
Year of production : 2016

With the friendly share of the Teatro in scatola (Roma)