The essay analyses the presence of the Oresteia in 21st century cinema, by analysing three films which explicitly refer to Aeschylus’ trilogy: Antonio Capuano’s Luna rossa (2001), Yorgos Zois’ Interruption (2018) and Gipo Fasano’s Eumenidi (2020). In all three, it is evident how the mythical plot is not represented in its diachronic development, but it constitutes an archetypal background on which other issues linked to contemporaneity are projected: the delinquency of the Camorra in Luna rossa, the fiction-reality relationship in Interruption, the discomfort of a well-off but unmotivated generation in Eumenidi.
Gli Atridi sullo schermo. Tre Orestee cinematografiche del XXI secolo
Ugolini, Gherardo
2022-01-01
Abstract
The essay analyses the presence of the Oresteia in 21st century cinema, by analysing three films which explicitly refer to Aeschylus’ trilogy: Antonio Capuano’s Luna rossa (2001), Yorgos Zois’ Interruption (2018) and Gipo Fasano’s Eumenidi (2020). In all three, it is evident how the mythical plot is not represented in its diachronic development, but it constitutes an archetypal background on which other issues linked to contemporaneity are projected: the delinquency of the Camorra in Luna rossa, the fiction-reality relationship in Interruption, the discomfort of a well-off but unmotivated generation in Eumenidi.
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