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Sala Conferenze del Mart, Rovereto

Film - Grido

Film - 75'

“This film was born from the need to tell an experience that affected my life. There was a two-year process to extract the essence of a much longer story. I didn't want and couldn't write a screenplay or invent characters. History was present, like living people. And together with this there is my desire to search in the language of cinema, the freedom of flight, of the unreal, of dreams and poetry. Without losing awareness of the truth." (Pippo Delbono)
The film premiered at the Rome Film Festival and tells a piece of Pippo Delbono's life with visceral simplicity. With this film Delbono won the best leading actor award at the SulmonaCinema Film Festival and Bobò received the same award at the Cinema del Reale festival in Lecce.

Pippo Delbono, author, actor, director, was born in Varazze in 1959. In the 1980s he began studying dramatic art in a traditional school which he left following his meeting with Pepe Robledo, an Argentine actor from Libre Teatro Libre (a theater group active in South America in the 1970s that used collective creation as a means of expression and denunciation of the dictatorship in Argentina). Together they moved to Denmark and joined the Farfa group, directed by Iben Nagel Rasmussen, historical actress of the Odin Teatret and for Delbono an alternative path began in search of a new theatrical language. Delbono dedicates himself to the study of the principles of oriental theater which he deepens in subsequent stays in India, China and Bali, where the central focus is the actor's meticulous and rigorous work on the body and voice. In 1987 he created his first show, The Time of Assassins and in the same year he met Pina Bausch who invited him to participate in one of the works of her Wuppertaler Tanztheater. This extraordinary occasion marks a fundamental stage in the director's artistic career. Delbono's shows are not productions of theatrical texts but total creations, the actors are part of a nucleus that maintains and grows over time. Already in the first work the features of a unique theatrical lexicon are defined which represents the peculiarity of all subsequent creations.