Raffaele Pinto, born in Naples in 1951 is Professor Associat Estranger (Foreign Associate Professor) of Italian Philology at the University of Barcelona. His Web site lists various courses he taught in 2017 and 2018, among them Italian Medioeval Literature and Dante and Medioeval Literature. He has authored books and articles, has appeared on TV and has a previous acting credit in a minor role in an Italian movie.
Rosa Delor i Muns, born in Barcelona in 1943 has a doctorate in Catalan Philology from the University of Barcelona, has authored books and articles and manages a literary blog. She has appeared on TV and this movie seems to be her only acting credit.
So far, this is fact. In the movie (and presumably in real life) Raffaele and Rosa live as a couple. We see Raffaele teaching, He lectures on muses in Greek mythology and medioeval literature. He is somewhat uncouth, stubby, stubbly and humorless, and seems to interact only with his female students. The few males sit in polite boredom or are ignored when asking questions. Women students are enthralled by Raffaele's teaching, and react with a mixture of emotions, among them the need for attention. Sometimes they are superficial and pretentious.
Raffaele's rapport with his female students, does not stop in the classroom; he converses (and sometimes has affairs) with them off campus. Even his choice of subjects in class (such as unending emphasis in Dante's treatment of the story of Francesca da Rimini) and his exhortations in favor of women's freedom seem insincere and influenced by his designs as seducer. These designs are sometimes predatory; his latest conquest is a student reeling from the ending of a pen pal Internet relationship that sustained her during a terrible period in her life.
Rosa, an elegant and cultivated woman is facing a crisis. She has known (and tolerated) Raffaele's flings, but she finds acceptance harder and harder. She feels neglected; maybe the age difference begins to tell. She confronts Raffaele, who answers evasively.
This movie feels partly as a documentary but we are left in doubt where reality ends and playacting begins. The film does not have the structure and unity of purpose of Guerin's previous and best known movie The City of Sylvia, but it is more free and spontaneous, often with a feel of improvisation. There is little action, only conversations public and private, but interest is maintained until the end. Acting is first rate although (or because) most of actors are first timers. A movie to watch.
Rosa Delor i Muns, born in Barcelona in 1943 has a doctorate in Catalan Philology from the University of Barcelona, has authored books and articles and manages a literary blog. She has appeared on TV and this movie seems to be her only acting credit.
So far, this is fact. In the movie (and presumably in real life) Raffaele and Rosa live as a couple. We see Raffaele teaching, He lectures on muses in Greek mythology and medioeval literature. He is somewhat uncouth, stubby, stubbly and humorless, and seems to interact only with his female students. The few males sit in polite boredom or are ignored when asking questions. Women students are enthralled by Raffaele's teaching, and react with a mixture of emotions, among them the need for attention. Sometimes they are superficial and pretentious.
Raffaele's rapport with his female students, does not stop in the classroom; he converses (and sometimes has affairs) with them off campus. Even his choice of subjects in class (such as unending emphasis in Dante's treatment of the story of Francesca da Rimini) and his exhortations in favor of women's freedom seem insincere and influenced by his designs as seducer. These designs are sometimes predatory; his latest conquest is a student reeling from the ending of a pen pal Internet relationship that sustained her during a terrible period in her life.
Rosa, an elegant and cultivated woman is facing a crisis. She has known (and tolerated) Raffaele's flings, but she finds acceptance harder and harder. She feels neglected; maybe the age difference begins to tell. She confronts Raffaele, who answers evasively.
This movie feels partly as a documentary but we are left in doubt where reality ends and playacting begins. The film does not have the structure and unity of purpose of Guerin's previous and best known movie The City of Sylvia, but it is more free and spontaneous, often with a feel of improvisation. There is little action, only conversations public and private, but interest is maintained until the end. Acting is first rate although (or because) most of actors are first timers. A movie to watch.
