Come la notte (Where the night stands still), by Filipino-born artist Liryc Dela Cruz, tells the story of three Filipino brothers, all domestic workers in Italy, who reunite in the villa inherited from their older sister Lilia. It offers the opportunity to fill the distance that has grown between them over the years.
Filming took place at Palazzo Malfatti, a historic building in Vigolo Vattaro (Trento) which, as Spazio '500, has become a centre for hospitality, residence and higher education for the arts, entertainment and culture.
Details of the historic building, built on a pre-existing medieval structure, with an obvious sixteenth-century look, are prevalent, making the Villa an imposing and silent presence, a non-place that connects the entire film whose suspended and static atmosphere reflects the characters’ tension. Long shots linger carefully on compositions of often-symmetrical spaces and details of cross-vaulted and barrel-vaulted rooms, whose European-inspired architecture is clearly in contrast with the Filipino roots of the protagonists, becoming a further symbolic expression of their condition of imprisonment in a foreign territory.
Come la notte (Where the night stands still), by Filipino-born artist Liryc Dela Cruz, tells the story of three Filipino brothers, all domestic workers in Italy, who reunite in the villa inherited from their older sister Lilia. It offers the opportunity to fill the distance that has grown between them over the years.
Filming took place at Palazzo Malfatti, a historic building in Vigolo Vattaro (Trento) which, as Spazio '500, has become a centre for hospitality, residence and higher education for the arts, entertainment and culture.
Details of the historic building, built on a pre-existing medieval structure, with an obvious sixteenth-century look, are prevalent, making the Villa an imposing and silent presence, a non-place that connects the entire film whose suspended and static atmosphere reflects the characters’ tension. Long shots linger carefully on compositions of often-symmetrical spaces and details of cross-vaulted and barrel-vaulted rooms, whose European-inspired architecture is clearly in contrast with the Filipino roots of the protagonists, becoming a further symbolic expression of their condition of imprisonment in a foreign territory.
Pelircula, Il Mio Filippino Collective, Ozono, Reckless Natarjan Pictures
After years of separation, three Filipino brothers, all domestic workers in Italy, reunite in a villa they inherited from their older sister Lilia. As night falls, the long-awaited reunion brings old memories and unexpressed grudges. The air is thick with the weight of what has remained unexpressed over time, as the brothers confront the delicate distance that has grown between them. In the silence of the villa, they struggle with indescribable pain, as their shared history unfolds in fragments, revealing silent but profound traces of absence, nostalgia, and broken bonds.
