Published : 12/28/2020 10:27:26
Categories : News
“Papa Francesco. Un uomo di parola” edited by Dario Edoardo Viganò and Gianluca della Maggiore, presents the screenplay and goes over the behind the scenes story of the making and production of the film of the same name by Wim Wenders.
It is a photographic book, published by Libreria Editrice Vaticana - Dicastero per la Comunicazione, created to restore the spirit that animated the project of the film in which Pope Francis is the "non-actor protagonist" (p. 7) from its initial stages to its final stages of production. A narrative of the first five years of Pope Bergoglio's pontificate - written by Wim Wenders himself - that takes on the strength "of what St Augustine recalls as being three properties linked to time: memory, attention and waiting" (p. 10).
The Introduction signed by Monsignor Dario Edoardo Viganò, retraces the genesis of the documentary and the message "woven into a script similar to the "murmur of a gentle wind" (cf. 1 Kings 19,12), with a direction which makes the encounter between Pope Francis and the spectator its main feature" (page 7). Monsignor Viganò explains that the aim of this volume is "to return to the film on the Pope by offering "special contents", a framework of varied materials which allow us to recount a very particular cinematic experience from different points of view: together with the complete text of the film, these pages present a previously unseen gallery of photographs of scenes and moments and encounters linked to the film" (pages 10-11).
The book also contains the text of the documentary and an interview with Wim Wenders by Gianluca della Maggiore. An intense conversation on the meaning of the film, on his experience alongside the Pontiff, on the magisterium and the figure of Bergoglio and on the technique chosen to carry out the interviews with Pope Francis: the Interrotron. An instrument used in documentaries to achieve certain stylistic, narrative and perceptive results. "In this way," says Wim Wenders, "the Pope would have seen me on a screen and I would not have looked him in the eyes, but through a camera, but at least he would have been face to face with each viewer! That would have made such a big difference to their experience visually and emotionally!" (p. 113).