Jasmine Trinca: “Feminicide arises from male power that thinks it can control everything”

A tragic crime event from 1970 that speaks to today’s everyday life. The eyes of othersin competition at the Film Festival, is inspired, without wanting to be a faithful story as a sign makes clear before the start, by famous Casati Stampa crime which shocked Italian society in the early seventies.

Camillo Casati Print by Soncinomarquis and rich landowner, killed his wife Anna Fallarino and her young lover and then committed suicide, it was August 30, 1970. A case that was widely talked about at the time also due to the revelations of the couple’s private life with the husband’s voyeurism in the background. A film that anticipates important and very current themes such as those of consent, revenge porn and possession.

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The film changes the names of the protagonists, the Marquis Elio is played by Filippo Timi and his wife Elena is Jasmine Trinca and moves the tragedy to New Year’s Eve which marks the passing of the decade. The director signs it Andrea De Sicanephew of the famous Vittorio and already author of the series Baby and the film Don’t kill me. “The modernity in the film is strong because Andrea made a film historicised in the 1960s, describing a social class, rich, cultured people, who Andrea knows how to paint very well even in the darkest aspects, who however have a very ancient vision of loving possession – says Jasmine Trinca – When today we ask ourselves in what context a feminicide takes place we realize that it is not a context of human misery, but often instead it happens in a context of well-being because the hard pseudo-cultural disgust is this male power that thinks it can control everything in this case: nature, the island, the other guests, the modernity that knocks on their door. These characters belong to an old and ancient world that continues to duplicate itself and we see this in current events and it seems that there is no way to move on. It’s in our body and it’s no longer tolerable.”

“The idea behind the film is to take an image, that of the Sixties which is associated with a certain lightheartedness, and try to distort it and show what has always been behind this image, ferrying it to today’s world which then we ask ourselves if it is really that different – ​​explains the director – I approached the story by exploring the places, one summer I found myself wandering in the abandoned villa of Zannone (in the archipelago of the Circeo, ndr.) where the marquises went to hunt, a private place, we will never really know what happened there. The fascination was so strong that I thought it could be the stage for this tragedy: a nightmare that happens in broad daylight. Starting from that story about which little is known, there is a lot of unproven story, we made an effort to transfigure, it didn’t want to be a detective story also because we know who the murderer is. We wanted to enter in an adventurous way into the complexity of a relationship that mixes love and violence in a complex way.”

The film has many nude scenes and sex sequences and in this regard Timi says: “It was embarrassing for me to undress, there is a judgment of the eyes of others and then there is the scene in which we are at night shooting at the top of the world naked. Here that nudity was embarrassing and then forcing us to talk about a sort of superhumanism of a man and a woman who feel almost divine because of how much they have raised the bar of the plausible. Furthermore, making a film is always embarrassing in the meantime because you never feel up to it and sometimes you embody painful feelings that are sometimes extreme.”

While Trinca, when asked if the sex scenes were filmed with the intimacy coordinator: “If he wasn’t here……” the actress says laughing: “With Domiziana De Fulvio we did a great job. The exceptional thing about this film is that the gaze of a male author was able to stay on me, on my body in no way with a domineering gaze. I am very rigid about this, even committed, if you want, to a vision of the feminine, it was It was very important for me to work with two companions who didn’t have overriding looks. Everything was done without any improvisation but with a study on how these bodies brought not only transgression but a story because it is a film that also tells much more through the body.”