Sunday, May 23 at the Yellow House Community Centre run by the elderly, in Bologna, there was a rather unusual event for a Sunday morning, the projection of film "The Wind Blows Round", followed by a meeting with the director Giorgio Diritti. Despite the poor quality of the projection, making it impossible to fully appreciate the film, the story quickly captured the attention with immediacy of communication, the charm of the landscape, the authenticity of the characters.
Let us briefly reconstruct the plot.
Chersogno The film is set in a village on the Italian Alps Occitane, now inhabited by a dozen elderly people, average age of seventy, who survive through the summer holidays. In this small village of Valle Maira, comes Philippe, a French house that seeks to settle with his girlfriend and her three children. Philippe is a French shepherd (former philosophy professor, tired of the bureaucracy) that has stopped teaching to dedicate himself to breeding of goats and making cheese. This event could be a breath of fresh air for the country. The community (who speaks in language-hoc for this movie is often subtitled-) decides in the end, under pressure from the liberal mayor, to welcome the "stranger" in the name of the traditional rueidas "those forms of mutual aid, which traditionally had united the community. The man and his wife are two people who decided to live and educate their children, following the rhythms of nature and desires. Over time, the "diversity" of newcomers in crisis over the conscience of a country that feels threatened by these free spirits, and misunderstanding gradually becomes unbridgeable distance: from injury to violence to get agitated. 'Outsiders' were first accused of being dirty (the kids are in the midst of the hunting of goats "), then cross over with the flock of goats in the fields of others and illegally taking wood from the wasteland (the film focuses on and emphasizes the narrowness the sense of private ownership of the villagers). Finally, the gossip is passed on complaints to police and local health authorities, the simulation of attack by a woman, killing some cattle.
Philippe does not want war and eventually decides to leave with his family. This departure marks a defeat but a country that fails to be anything but a showcase for television programs that are still looking for the scent of "authentic" or postcard for summer tourists.
We now turn to some reflections on the film.
The discussion with the director is just one game of the final scenes of the movie, you just consumed the fatal rift between the country and the French family, with the departure of Philippe, his wife and children, when you see a helicopter shoots between the valleys and mountains around Chersogno; are taken from a television program on the country, which are commented on by an old man reconstructs the memory of those places.
is strong contrast between the sense of defeat, we recorded pain as spectators with the departure of the French family, euphoria and nostalgia picture-book which paints the landscape and the country from above. We live, moreover, on a less emotional, the conflict between media portrayals and real life, the disconnect between appearance and being that had already been presented in an earlier scene in the movie: a journalist breaks out with his entourage (the air we breathe of an "invasion" is not respectful of the places and people that are almost raped by the goals!) to tell the happy story of the new French citizen that makes the shepherd and dairyman, and when the mayor, however, ask the reporter to talk about the attempt by 'Administration to revive the life in the country and, therefore, to report to Chersogno young people, the journalist respond dry he's there to talk about power, not politics.
... Let's return to flight of the helicopter at the end of the airplane lands and assist the recovery of the body of the "crazy" in the country which has just committed suicide, and this scene gives us a further key to the film: the country has been able to integrate the "crazy" just as it has been able to integrate the stranger, his suicide is symbolically the suicide of a community that has chosen the folding in on itself, anchoring to a dead tradition rather than the opening to new possibilities and the challenge change.
The "crazy", above, has been filmed several times in arms stretched simulated flight through the streets or fields, a flight that does not know the rigid boundaries of private property (which are rather for the other villagers one of the main points of dispute with the French family ...). The "mate" with the mind free of prejudice, is the one that best manages to get in touch with the French identity and finds in her eyes. For this reason, the departure of Philippe to make ends now empty and meaningless his life ...
This film in its richness of content lends itself to an analysis at multiple levels, from the central theme of the relationship with diversity branch chapters on prejudice and stereotypes (the alien "stink" port disease - the dead pig that was abandoned by the French used to be so because in the Pyrenees, where he had lived before, the vultures are fed carcasse_ ...), the identity of the social states in contrast (the dynamics in- group / out-group, the "we" and "them"), which states that personal identity, however, thanks to the benevolent gaze of the other, that the gap between media representation and lived reality is a film ...
that, in addition to the great artistic value, is well suited to develop ideas of anthropology, sociology or social psychology. Highly recommended, therefore, vision to staff and students of the School of Social Sciences!
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