That film was born under the sign of non-freedom, fear (of doing with fear that in art leads to failure), even the fear of displeasing my mother who was still alive, my brothers, of not being in line with the Fagioli principles, all ghosts that I created for myself since no one forbade me to do anything. In fact, the surviving twin, arid and selfish, in the film falls in love with Pippo’s betrothed (after hating her) and will replace him in life while also preserving the creature that the young woman has in her womb, daughter of Pippo.
It was Camillo, talking about Camillo, who interested me, of whom I had already talked about changing his name (Pippo) in the film The Eyes, the Mouth of 1981, but in that film I was actually talking about myself, the surviving twin and, since he was completely involved in the fagiolian experience, I wanted to give the film and myself a positive conclusion, a final “sanity”. But I immediately understood (on that December 16th, 2016) that the nostalgic commemoration of that past which to me, but also to the other brothers and sisters, had not given particular joys, did not interest me that much. This film was created five years ago to commemorate the birthdays of the surviving Bellocchio brothers who, except me, had reached the age of eighty and had passed them (in the meantime I have passed them too) with wives, children and grandchildren at the Union Circle of which my father was one of the founders.
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