Carla Fracci beyond the myth in Daniele Luchetti’s new documentary

After Raffaella Carrà, Daniele Luchetti signs another documentary on an icon of world dance, Carla Fracci. It will be released in cinemas from 13 to 15 November **Code Carla **(list goes up nexodigital.it), produced by Anele and Luce Cinecittà with Rai Cinema, which tells the story of the myth, the woman, the mother, the dancer. Fracci beyond the artist’s. «I am a woman with a child and a husband first of all», she said, «even though I work on tiptoe, my feet are firmly planted on the ground».

There are his interviewsarchive images that portray her on the stages of Italy at the end of the 50s and 60s, until 1980 when we see her dancing with Nureyev in Giselle. There are ad hoc interviews with people who have been influenced by Fracci’s art, such as Roberto BolleEleonora Abbagnato, Alessandra Ferrithe performers Marina AbramovicChiara Bersani and Carolyn Carlson. And the husband is there too Beppe Menegattithe actor Jeremy Ironsthe musician Enrico Rava and the son Francis, which brings together artists under a single concept: «Dark matter. It’s a secret code that moves them.”

Luchetti tries to investigate this code. «I tried to tell from the heart about an artist I knew little about», explains the director, «I asked questions that I would have liked to ask Carla». She found her answers in the archive materials and through the words of the artists interviewed. «Carla continues to talk to us today and tells us that physicality prevails over virtuality”he is convinced Luchettiwho also had the intuition to combine Fracci’s evolutions with the music of Atoms For Peace published by Thom Yorke (Also music supervisor of the film) and Sam Petts-Davies. More contemporary than that.

Carla Fracci was technically impeccable«but behind dance there is not only technique and gymnasticsthere are not just feet and legs, there is a brain, gods feelings and passion», explained the artist. Just like behind an actor, a musician and a performer. Luchetti goes beyond the curtain, the abstraction and the corporality of the dance, he is swallowed up by the emotional power behind the gesture.