LAB 2014-2015 > Carlo Zoratti & Daniel Borgman – Calvario

Carlo Zoratti & Daniel Borgman – Calvario


Carlo Zoratti

ITALY


Born in Udine in 1982, Carlo Zoratti graduated in Interactive Design at the Turin University. He worked in the interactive department of Fabrica (Benetton’s research center on communication) and then as a freelance in Holland, Italy and Germany. He directed several music videos, he funded the Italian web-tv Pronti Al Peggio and did the art direction for the show of Italian pop star Lorenzo “Jovanotti” Cherubini. In august 2013 he released his first feature film ‘The Special Need’ that premiered at the Locarno Film Festival.


Daniel Borgman

DENMARK


Daniel Borgman was born in 1981 in New Zealand. He studied film science at Otago University in New Zealand before moving to Europe, where he worked in post-production, first as an assistant and later as a colorist and VFX artist. His first film ‘The Man and The Albatross’ is remarkable for the arresting visuals on a small budget and premiered at ‘The Leopards of Tomorrow’ Competition at Locarno 2008. His second film ‘Lars and Peter’ screened In Competition at the Festival de Cannes in 2009. In 2009 Daniel was admitted into the Danish alternative film school Super16. His next short film ‘Berik’ is a remarkable and confronting film shot in Kazachstan with a small crew. This film was selected for Critics Week at Cannes 2010 and won the Grand Prix for ‘Best Short Film’. Also in 2010, Daniel’s debut feature film project ‘The Weight of Elephants’ (2012) was selected for development at the Cannes Cinefondation’s The Residence program in Paris, France. The film had its world premiere at the 63rd Berlinale in 2013. He currently has a feature film in advanced development entitled ‘The Light in the Bottle’.




LAB PROJECT:

Calvario



A woman at sea is struggling not to drown. The woman looks around into the distance and notices an old, wooden boat drifting. It lacks a mast or any kind of rigging. The woman swims to the boat and manages to pull herself up onto it. She explores the boat and discovers that the hold is full of deformed, disabled men. They are dressed in rags, they are filthy. Over a series of scenes the woman takes control of the boat, she cleans up the hold, she discovers food and she becomes a kind of matriarch for the deformed men. The men soon fall in love with the woman, but the emotion they feel quickly shifts from familial love to a sexual attraction.
We then cut to a city, buildings, cars, people everyday life. In a montage of scenes we show situations that portray violence as a fundamental element of the human existence: a father beating his child, a woman giving birth to a dead foetus, a class of students driving their teacher mad and so on.
The compounding nature of the scenes, and the share volume of them takes the viewer to an almost overwhelming sensation, at which point the montage ends and we return tot he world of the boat.
There is a boat full of rough men. They have been at sea for a long time, but there is no wind and they are trapped in a motionless ocean. Among them is a cabin boy, the smallest and most feminine of the crew. He is abused by the men.
In the distance the men see a boat, it is far away, it has no sails or rigging. They cannot sail to it, so they wait, watching, excited about who it might carry.
One day the men see a canoe moving through the water away from the distant boat. as the canoe draws closer they can see that on it there is a woman wrapped from the neck down in a long cloak. The men grow increasingly excited. The boy, who also watches, sees in the woman's approach a relief from his suffering.
But when the canoe arrives at the boat the men realise that all there is of the woman is her decapitated head. The boy watches as the men curse and wail with disappointment and grief. He knows that he will not be saved. He jumps off the other side of the boat and swims away into the vast ocean.