I talk otherwise (first feature)

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teaser

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I talk otherwise

I talk otherwise

original title:

I TALK OTHERWISE

directed by:

cast:

Franz Gottwald, Franz Dolt, Hansjorg Heinzmann, Roberto Veronese, Jacob Schmid, Heinz Schmid, Walter Landshuter, Willi, Elke, Annemarie Schmöller, Reiner Klemm, Helga Spatz, Ansari Dyayad, Alexander Straus, Paod Proft Jaroslav, Jesef Elsik, Alexander Kacz, Mazyn Alramaht, Zoltàn Rezsnyàk, Branko Bozic, Dragoljub Zamurovic, Dobrivoje Nesovic, David T. Alexandru

cinematography:

music:

Marco Biscarini, Daniele Furlati, Alessandro Cipriani, Jan Maio

production:

InClouds, Maxman coop

distribution:

country:

Italy

year:

2015

film run:

117'

format:

colour

festivals & awards:

  • Visioni Italiane 2015

I Talk Otherwise is a movie about a journey along the Danube seen from the viewpoint of the river itself. It follows the path from West to East, from the Black Forest to the Black Sea, flowing between the mixtures, the rafts, and the cultural contra- dictions of the lands crossed by the great river. Conceived as a road-doc movie, it trails the river from its source in Germany, across Austria and some former Communist countries - Slovakia, Hungary, Croatia, Serbia, Bulgaria, Romania – all the way to its mouth in the Black Sea.
The Danube, with its singular and yet multifaceted point of view, a perspective that remarkably reflects its distinctive character, becomes an unambiguous elusive guide which dazzles and leads us through the features and wanders of those places. Despite the sharp dissimilarities of faces, languages and contexts it manages to reconcile seemingly disparate identities and visions.
The river reaches and then deserts all the characters who find themselves reflected, in all their sensitivity, in its universally designating mirror. Flora, fauna and architecture play a crucial role, assuming strong symbolic value. The changing seasons – summer, autumn, winter, each with its own chromatic horizons – represent an allegoric emblem of the journey taken between the spiraling ideals of the modern man. It is thus possible to perceive, through reminiscences and representations, the metamorphoses that have catalyzed the transition from hegemonic ideologies of the twentieth century to a time rich in signs and technologies.
Sounding the traces of tradition in all their reticence, in places where they clash with the arrogant modernity, the river flows towards its future and accompanies us to the discovery of our past. The Black Sea proves to be a return to the origins, a “meta-final” of a backward journey which reveals once again the jagged horizon of contemporaneity.