Ozpetek compares Naples to a woman in new film

Thriller 'Napoli Velata' stars Mezzogiorno and Borghi

(ANSA) - Rome, December 20 - A mystery in a thriller full of ghosts, 'doubles' and hallucinations in a reality that is incredible forms the backdrop to director Ferzan Ozpetek's latest film, 'Napoli Velata' ('Veiled Naples'). The plot contains a love story of a single night with much 'shameless sex' between characters played by Giovanna Mezzogiorno and Alessandro Borghi. Some 350 copies of the film will be in cinemas, distributed by Warner Bros. Entertainment Italia, from December 28.
    The real protagonist of the film, however, is Naples, the 'double' city that adds another veil whenever it reveals anything about itself, as if moved by a sense of modesty.
    The Turkish-Italian director, known for his 'Le Fate Ignoranti' (The Ignorant Fairies'), said in a press conference on Monday in Rome that "Naples is female", a sentiment later echoed by city 'icon', actor Peppe Barra. These are the basic outlines of the film.
    On an evening out, Adriana (Mezzogiorno), a coroner dealing with gruesome autopsies, meets Andrea (Borghi), a fascinating younger man. Passion is sparked between them immediately and they end up in bed together. He disappears the next day but Adriana's obsession sees him everywhere. Amid this delirium, Adriana has to deal with her complicated past: a mother seen as insane and homicidal, an eccentric aunt and a unique, alleged father played by Pepe Barra. Unique rituals are interspersed, such as one in which men have children, and there is the beauty of relatively unknown sites such as the Ospedale degli Incurabili ('Hospital of the Incurables', where the initiation ceremony ends with a veiled uterus) and the Cappella del Principe di San Severo, a scholar and alchemist, with a famous statue of Cristo Velato (Veiled Christ). The cast of the film includes Lina Sastri, Luisa Ranieri, Isabella Ferrari and Maria Pia Calzone. The film ends with Arisa singing Enzo Gragnaniello's Vasame. "Naples is a city that I fell in love with while directing 'La Traviata' at San Carlo. It is the only city in which I feel at home after Istanbul, Rome and Lecce. "Of course," the director said, "there is a strong feeling of death in the air, but Neapolitans play with it and make it into something that there is nothing to be afraid of in it." "Adriana," Mezzogiorno said, "caught between physical passion and mental difficulty, acts in this situation as if she were in a mental tunnel that is parallel to reality. The sex scene is very important because it sets off a series of other things. I was tense as is normal, but luckily with Alessandro - who I did not know well - there was an immediate chemistry, even of a physical nature, and no embarrassment or modesty. In the end, we were both happy to have done something special." Borghi said that "for me, that scene was certainly easier for me than for her. It can't be easy for an actress if she does not meet with a good person" in front of her in such a scene.