At the beginning of the 20th century, Heisenberg said that changing the look upon the world was yet changing the world. In the context of a documentary film this statement is an invitation to admit the eye (the camera’s lens, but also the retina of the audience) is enhanced by this thought and the real vocation of the documentary film is to reveal the place where the truth is laid hidden. In that way, we can consider that Magna Graecia/ Europa Impari, by Anita Lamanna and Erwan Kerzanet, is following such a demarche. Avoiding the temptations of any folkloric esthetic representations, this film tries to share with us an unsuspected but lucid view of Calabria and its inhabitants — various kinds of inhabitants, in form of moving portraits, expressing freely their own feelings from their own houses, villages, offices, classrooms, etc. These words move us because they give us something to hear about the complexity of a world we are experiencing (politically?) on our own.  A focused world, although it’s much diffused, sometimes so little tangible (a world for the future?). This world is Europe, of course (the title nominates it). A world impossible to separate of another world, irreducible and sometimes contradictory, the world of our own childhoods, so far away from us, and so close at the same time.  How do we make to live now, ask these persons (these characters because they are out of a story) after having experienced so much metamorphosis? The woman or the man (filmed), here, speak with tenderness to the man or the woman (filmed or watching the film) with only one perspective: a violent and soft desire to keep on existing in the best way, with the others, and the landscapes. A way to verify the old poet’s famous adage saying that global is the local without the walls.

Michel VALMER, playwright and manager of IMAGE TEMPS PRODUCTIONS COMPANY, Nantes (FRANCE).

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