When it first came out, in the second half of 2019, a The Hummingbird a rare power has been recognized: an uncommon ability to tell the suffering and strength of which it is the mother, without falling into the trap of rhetoric. Then, Sandro Veronesi was awarded with the Strega, to the best book of the year. And, twelve months later, she took possession of that novel of hers Francesca Archibugi, promising a movie.
The director, who together with Laura Paolucci and Francesco Piccolo also wanted to take care of the screenplay of the film, will begin shooting her own version of The Hummingbird next June, in Rome. The same city in which Veronesi set part of its history.
The Hummingbird, for whose film adaptation Pierfrancesco Favino, Kasia Smutniak and Nanni Moretti have been called, tells of Marco Carrera, caught in the unfolding of time, between the seventies and the near future. And there is the slide of a never consumed love, the memory of suffering, of atrocious and inhuman losses, in Veronesi’s novel. There is the reaction of a man who entrusted his existence to his granddaughter, Miraijin, with the – absolutely vital – hope of being able to be reborn from the ashes of his own pain.
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