A writer in cinema
Cinema and literature live off continual cross-inputs, and if cinema was once considered an appendage of literature, nowadays it is not rare for novels to feed on the imagery belonging to films to transform them into new stories. Edoardo Albinati, the Italian author and scriptwriter invited this year as a guest curator for L'immagine e la parola (10-12 March 2017), finds a place for his artistic production within the exchange of such suggestions.
Edoardo Albinati’s novels reflect the author’s autobiographical path, hovering over pivotal issues in Italian society: his protest years, the search for a new form of political commitment, his humanitarian missions between teaching in jails and aid in Afghanistan. Research into his role as a son, teacher and father underlies his evolution into magmatic and powerful writing. And indeed, cinema with powerful male figures dominates his imagery: Straw dogs by Peckinpah emerges as the dark core of his latest book La scuola cattolica, the winner of the most significant Italian literary prize in 2016. This novel, already translated into several languages, is a lucid, overwhelming and ruthless analysis on education in private institutions, pinpointed during a moment of progressing failure in masculine centrality and the father figure in society. His ongoing dialogue with Marco Bellocchio, who set his Nel nome del padre in a Jesuit college in the Seventies, is not surprising. Albinati worked with the filmmaker on the adaptation of Fai bei sogni (presented in Cannes in 2016), drawn from the literary hit by Gramellini, the culmination of a screenwriting process which began by chance through a meeting with John Jost. A curious and omnivore spectator, this writer has been in touch with the most interesting young Italian authors, from actor Filippo Timi (with whom he wrote a four-hand autobiographical book, Tuttalpiù muoio) to filmmaker Matteo Garrone (for whom he collaborated on Tale of Tales and the new filmic version of Pinocchio).Daniela Persico