Indivisible tells the story of Dasy and Viola, conjoined twins searching for a better life, at first away from the older people who profit from their talent for singing, and eventually, apart from one another. Director Edoardo De Angelis delivers a touching, distinctively Italian brand of neo-surrealism in this beautifully shot feature. The leads, Angela and Mariana Fontana, are real-life identical twins and great singers who give outstanding and subtle performances.
The idea for the film is very bold. How did it occur?
I was wondering about separation and the pain that it involves; separation between parents and children involves pain, separation between sisters creates pain but, I think, separation from a part of yourself is the most painful process at all. So I needed a story to tell something about this — I needed a key frame, a key image. At that time, the screenwriter Daniele Guaglianone told me about this idea: two conjoined twins, singers, in Naples. I thought I had found the image I needed.
But I didn’t know if the Fontana twins were suitable for such a sophisticated work. My doubts were unfounded: already at their first audition, it was clear that they were perfect. And later, one day after another, while making the film, they showed how talented they were and also that they were hardworking professionals. I am very proud of them.
The film has great style. Were you influenced by the tradition of Italian cinema? I see Fellini, but also De Sica and others in the mix.
As a narrator, I feel I am a custodian of their prestigious tradition. I have my own way to feel, my way to look, and my way to tell, but it all comes from this old and sublime tradition. At the same time, my duty is to keep looking for a new language. I feel I have to be a son of the past and a father of the future.
How did you find your musical collaborator on this project, Enzo Avitabile?
Enzo and I tried to work together already in my previous film Perez, but Indivisible was the right occasion. I felt his sound like a glove for this story. We started to work together from the second revision of the script and his music and his art were fundamental to shape the following versions as well as to drive the shooting and of course the editing of the film.