A ferry, four characters and a voice on the road.
These are the images from the first take of Marko Polo, the new film by Elisa Fuksas produced by Indiana Production, which began shooting today in Ancona.
Marko Polo is a totally innovative project: parts of the film will be shot script in hand, while others will be pure documentary, real moments of this mysterious long journey from sunset to sunrise. As the ship sways like a perpetual metaphor for the precariousness of everything, she and the others face the great issues of life.
Elisa Fuksas is a director and writer. She has published “La figlia di” (Rizzoli 2014), “Michele Anna e la termodinamica” (Elliot 2017), “Ama e fai quello che vuoi” (Marsilio 2020) and “Non fiori ma opere di bene” (Marsilio 2022). In cinema, she made her film debut with “Nina” (2012); her latest film is “Senza Fine” (2021) with and about Ornella Vanoni.
Marko Polo is, in the director’s words, “an experiment on the search for meaning from a failure, which mysteriously is able to mend a covenant of faith and fidelity, between reality and representation but above all between the protagonist and the world. I keep looking for a way, a way to be myself and Christian and to be in the world.”
A fresh and innovative docu-comedy with a choral cast, performers include Iaia Forte, Flavio Furno, Letizia Cesarini (the singer Maria Antonietta), Lavinia and Elisa Fuksas, and Elisa Casseri.
a film by
Subject and Screenplay by Elisa Fuksas and Elisa Casseri
Produced by Benedetto Habib, Marco Cohen, Fabrizio Donvito, Daniel Campos Pavoncelli
Photography Emanuele Zarlenga
Editing Michelangelo Garrone
Costumes Lucia Votoni
When Elisa discovers that the film she has been working on for years has foundered, everything seems to shake, even her faith. She wanted to tell the story of her conversion to the Catholic religion, but perhaps she didn’t believe in it enough. “To God or to the film?” she asks herself, but she doesn’t know either. Faced with failure, she has only ever been able to lose herself. “Because you’re heavy and you don’t know how to look at others,” Our Lady tells her the first time she speaks to her, desacralizing her crisis and pushing her to react. Therefore, Elisa, her sister, her screenwriter, and the lead actor of the failed film set off on a boat trip, heading for a shrine they know little or nothing about. Each of them has something to solve, a knot to unravel: just like all the other pilgrims on the ship. Between testimonies and memories, reality and fiction, the world’s tale blurs with its representation, and faith becomes living matter, a feeling to be shared with others.
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