'I would've preferred to be an archeologist,' the director Alice Rohrwacher tells Jeremy O. Harris. 'But I am a tomb raider.'
roamed, making sense of the garden’s intricate sculptures and how they’d landed in her world. This sense of childlike wonder of the sublime, in concert with the familiar, is at the center of this award-winning Italian filmmakers oeuvre—from Cannes best screenplay winnerwhich follows an English tomb-raider blessed with a connection to Etruscan tombs her films constantly surprise..
ROHRWACHER: Thank you for this question. It’s a very interesting one. I’m used to working with people who always have to learn another language, by which I mean not just an English actor who’s learning Italian, but maybe a shepherd who’s sort of learning about a scene, older people who are learning about something that is happening. There’s always a language that has to be learned, and the language that I’m referring to is the language of film.
ROHRWACHER: I mean, I don’t feel like I’m the proprietor of anything, really. All my words are sort of shaped, all my words, my voice, my gestures, my imagination, are shaped by centuries, really. They are educated from afar. And these are the utensils that we borrowed from all of humanity, really. So I can never say that I discovered something, only that Iit. And before me, someone probably felt it, and after me, someone will.
HARRIS: I love that. Your sonography is so lush, as is your sense of costuming. I often feel that when people present a sort of magic realism or fairytales on screen, they work really hard to separate it from the world we’re in. And yet your worlds feel very much like ours, but just a little askew. What is that process of world-building for you?
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