‘Agon’ Director Giulio Bertelli on How He Got Mubi Onboard

First-time Italian director Giulio Bertelli, who’s dressmaker Miuccia Prada’s son, made what might be this 12 months’s most offbeat Italian feature movie debut with “Agon,” an allegorical drama that follows three feminine athletes competing in judo, fencing and goal capturing within a fictional live-streamed global sports activities tournament called the Ludoj 2024 Games.

“Agon” (which takes its title from the Ancient Greek phrase for a wrestle, contest or competitors) was impressed by the historic figures of Joan of Arc, Cleopatra and a Russian cavalry officer called Nadezhda Durova. The experimental drama examines the social pressures of competitive sports activities, the use of technology and social media utilized to sports activities, and the hyperlink between sports activities and battle, offering a contemporary and reasonable have a look at up to date athletic agonism.

 The movie stars Italian judo athlete and Olympic Gold medalist Alice Bellandi and “La Chimera” stars Yile Vianello and Sofija Zobina. 

Following its premiere in the Venice Film Festival’s Critics’ Week in September, “Agon” was launched in Italian cinemas, kicking off Mubi’s Italian theatrical release slate, and has travelled widely on the competition circuit including the Rio, Thessaloniki, Geneva, and Brisbane fests.

Bertelli speaks to Variety about his private connection to the movie’s subject material and the way he introduced Mubi and The Match Factory on board as producer, Italian theatrical distributor, and global distributor.

You’ve been concerned with the Italian crusing team that competed in the America’s Cup. Is that what prompted you to depict the world of extremely competitive sports activities?

Yes, I undoubtedly have a private connection to this movie. But there’s also a broader context. It’s true that “Agon” is centred round the world of sports activities. And in fact it’s open to interpretations. But I also use the sports activities world backdrop of these fictional Olympics that are nearly a geopolitical platform, to make a mirrored image on the position that competitive sports activities have taken on over the past century. And also to speak more normally about the feeling in lifetime of not with the ability to obtain one’s purpose. So, at one level it’s also the story of three youngsters who’re unable to do what they need. This is noticed very in another way with respect to each character, ​​contextualising this journey in the preparation for competitors in a minor sports activities class of a hypothetical Olympics. Then there’s the broader issue of macro connections between how we got here to name sports activities what they’re today. Where does that comes from? And the relationship between battle, violence, and sports activities.

Talk to me about your resolution to forged real life world champion judo athlete Alice Bellandi in the movie.

I initially conceived “Agon” as an animation project. Then, once I determined to make it live-action, I had two big issues. One was: how do I give it a practical flavour that establishes belief with the viewers? For fencing, I knew I may use a stunt individual because in fencing you put on a masks. With capturing, I also knew that it was not a big downside because the athlete needs to be very still. But in the case of judo, I knew I needed to discover a real judoka. Then actuality surpassed my expectations once I met Bellandi, who agreed to be in the movie. Then 5 months after we shot she gained the Olympic gold medal in Paris.

In simplistic phrases, “Agon” explores the relationship between sports activities and technology, which may be very clear in competitive crusing. Talk to me about the way you weaved this into the movie’s narrative.

I’m involved in the relationship between sports activities and technology, however in a broader sense, which is what I feel I’ll continue to take a look at in the future. What actually pursuits me is the rapport between the natural world and technology, “organic” pertaining to the physique in this film. One instance is the surgical procedure [scene] in the movie, which is clearly a really crude scene. For me it’s very important because it’s not a metaphor. There are other administrators who’ve addressed this theme [of technology and the body] utilizing metaphorical devices that have formed my creativeness. But I’m fascinated by this [rapport] the place it doesn’t exist as a metaphor, however exists purely as actuality: a robotic that digs into the flesh, into the blood.

Talk to me about your relationship with Mubi. How did you carry them on board in such a big approach?

Actually, Mubi was concerned in “Agon” since the starting, before anybody else. When I wrote this story as an animation project, I wasn’t truly actively attempting to get this movie off the floor. I met Efe Cackarel in 2017 when Mubi was a lot smaller than it’s now. We talked about it. I discussed that I had this story in thoughts and I’d prefer to possibly make films in the future. He said: “I’m interested. I’m also interested in starting to produce in the future and not just be a platform. Why don’t you write the screenplay?” So I wrote the screenplay and began speaking about it straight with Mubi. At first we began growing it straight in London as an animation movie, however then we realised that it could be too costly and sophisticated to do it as an animation project.

Meanwhile, my life was altering. I assumed: “maybe this could actually be my first feature film. And Efe, rightly, said to me: “Look, you need you to find a producer to take this project forward. But we are on board.” So, with [Italian producer] Max Brun, I launched myself to Jules Daley, who had just come out of RSA Films. She cherished the project and determined to assist me and turn out to be my producer on this movie. So, little by little, “Agon” was born. Then, when the project started to take form, Mubi got here on board. From the very starting, there was the concept that they’d distribute it. But they also grew to become an fairness investor. At that point, Mubi had acquired, or was in the strategy of buying, The Match Factory. So, to my nice pleasure, I discovered myself working with The Match Factory as a global sales agent. Then they said: “Instead of selling the project, we’ll distribute it directly in Italy, because they wanted to start distributing in Italy.” 

This interview has been edited and condensed for readability.