13/07/2021 - CANNES 2021: The Italian duo have presented their first feature film, set in a fictional 19th century, in the Directors’ Fortnight

Alessio Rigo de Righi (left) and Matteo Zoppis

The Tale of King Crab [+see also:
film review
trailer
interview: Alessio Rigo de Righi and M…
film profile] by Italian directors Alessio Rigo de Righi and Matteo Zoppis has been presented in this year's Directors’ Fortnight at the Cannes Film Festival. The film brings to mind classical western stories, and introduces a singular and somehow enigmatic protagonist. We talked to the directors about their inspiration for the story and their fascination with traditions.

(The article continues below - Commercial information)

Cineuropa: How did you first learn about the legend of Luciano?
Alessio Rigo de Righi: It was in this hunting lodge, where we previously made our first two films, that we first heard about the legend. We were told about some unfortunate event that happened and that Luciano was involved in, but the details were not very plentiful. So we started from there with our research and developed the story. We then also found someone with the same name who, according to the records, immigrated to Latin America, and we used it as additional inspiration.

Was it clear from the beginning that you would use two different time periods?
Matteo Zoppis: Yes, it was planned in the script from the start. We wanted to replicate what we actually observed with the hunters who told us the story in the first place. Since it was our starting point, we also wanted it to be the starting point of the film. Moreover, these men reappear during the rest of the story in other roles and so create a kind of continuity.

The inclusion of old folk songs underlines the traditional setting and the legendary nature of the story. Were you familiar with this tradition before?
MZ: People in this place are always singing. We were therefore confronted by songs from the start. It is a tradition that is authentic to them and part of them. It is something they added to the concept of the movie. We then conducted our own research to find the most suitable ones. The songs all have the same metric structure that dictates a certain rhythm. The lyrics change, though, and we often got the impression that they would describe the story of the film very well.

How did you find the main actor for the role of Luciano?
ARdR: Gabriele Silli is a friend of ours. We started to talk to him three or four years ago about the role. He is an artist, painter and sculptor. Right from the first moment he heard about the character, he started to practise. He learned Spanish, he grew a beard, and he even moved to the place we were supposed to shoot the film for a while. The role of Luciano grew with him, and he really became the character.

What were the biggest challenges of shooting in Tierra del Fuego?
MZ: Actually, the geography was very challenging. We went to remote places, where we had to take our equipment, too. Moreover, we depended to a great extent on the weather conditions. We had to wait for the sunshine and the snow to come at the right moment, for example.

Was it difficult to reconstruct the time period of the 19^th century?
MZ: We didn't want to be too precise with that. We were rather inspired by the place in itself, which is actually very genuine, and wanted to evoke an authentic atmosphere by talking about that spot and the life of these people here.

Why did you choose a crab as your symbolic animal?
ARdR: I think we just like to work with animals. But seriously, it felt as if it would underline the fairy tale-like and magical character of the story.

How would you define the film in a few words?
MZ: The first part is like a prologue to a western, and the second is the western. We have a character that had an experience that led him to flee from his home, searching for his fortune on the other side of the world. It is also a movie about identity.