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| Festival Year |
Festival Section |
| 2013 |
21st Century Silents |
| Film Title |
LAGO DI SETA |
| Alternative Title 1 |
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| Alternative Title 2 |
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| Alternative Title 3 |
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| Country |
USA / Italy |
| Release Date |
2013 |
| Production Co. |
2013 02 Films |
| Director |
Renée George |
| Format |
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Speed (fps) |
| DCP |
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| Footage |
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Time |
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14' |
| Archive Source |
2013 02 Films, Redondo Beach, CA. |
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| Print Notes |
sd.
Una didascalia / One intertitle. |
| Cast |
| Francesca Leto (Giulia), Vincenzo Fesi (Federico), Cristina Aubry (mamma), Rossella Barile (supervisore/supervisor), Cecilia Isabella Duca (bambina/little girl), Federico Dottorini (bambino/little boy), Angelo Strada (cliente/client) |
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| Other Credits |
| prod: Renée George; scen: Renée George, Angela Frucci; dir. prod., addl. ph: Angela Frucci; f./ph: Stella Libert; cam. asst: Marine Goujet; mont./ed: Michael Mastre, Renée George; effetti visivi/visual effects: Adam Kowalski; trucco/make-up, acconciatura/hairdressing, cost: Yumiko Oka; mus: Robert Casal, Renée George, eseguita da/performed by Luigi Magistrelli (clarinetto/clarinet), Antonio Calsolaro (mandolino/mandolin), Gautier Capuçon (violoncello), Henry Gronnier (violino/violin), diretta da/conducted by Robert Casal |
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| Program Notes |
Lago di Seta (Silk Lake) is the second completed episode of Renée George’s feature anthology, 7 Short Films About Love (in 2012 the Giornate screened the French episode, Le Petit Nuage). Lago di Seta is set and shot in Italy, and follows the romantic Giulia’s undulating stream of the subconscious. After dropping her child off on the way to her job at a silk factory in Lake Como, she finds herself mesmerized into a daydream by the weaving machines. She lives the fantasy of being whisked off by the man of her dreams to a beautiful lakeside villa. The romance is rudely interrupted, and Giulia wakens reluctantly to face reality – only to realize that everything she needs has been there all along.
Like Le Petit Nuage, Renée George’s new film works through a wholly realized fusion of image, movement, music, and place: Como, with its squares and palaces contrasting with the pitiless machines that produce some of the world’s finest (and most costly!) silk, becomes the ideal stage for the changing phases of Giulia and Federico’s sweetly amorous pas de deux.
The fine monochrome images owe much to Renée George’s long career as a lighting technician (a recent assignment was on Behind the Candelabra). It was her experience in lighting the set of The Artist, as Best Boy electrician and lamp operator, that first inspired her to reassert her ambitions as a director and to pay her own tribute to the magic of silent cinema. – David Robinson
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