DramaFestivalsFilmReview

Chiara – From Venice to London 2023

David Cunningham

Writer: Susanna Nicchiarelli with Chiara Frugoni

Director: Susanna Nicchiarelli

The poster for Chiara (which translates into ‘Clare’) shows the title character with a lopsided smile close to a smirk. This seems an odd way to promote a film about a saint but then Chiara is a decidedly off-centre movie – a grab bag of ideas and styles.

In 1211 Chiara (Margherita Mazzucco) leaves a privileged background to devote herself to a spiritual life. However, lacking a dowry to offer the nuns, she is reduced to acting as a servant at the local convent. She leaves and joins friar Francesco (Andrea Carpenzano) who advocates radical ideas such as preaching in the vernacular to ensure the Lord’s teachings are understood by as many people as possible. Their partnership is, however, strained when Francesco accepts an edict that effectively bans women from taking an active role in church affairs. But then strange things which could be described as ‘miraculous’ begin happening when Chiara is around.

Susanna Nicchiarelli, who directed the film and wrote it with Chiara Frugoni, blends authenticity with audacity. The film is shot on location with lighting limited to the natural level available in the 13th century when the story takes place. Yet, from time to time, the characters break the fourth wall, stare direct into the camera and even burst into song. The faces of the characters are reddened and worn with harsh weather and their bare feet frostbitten, yet, although the story runs across 17 years Margherita Mazzucco does not seem to age a day.

Although the locations are authentic, they are curiously sterile giving the impression of a National Trust venue which has been cleared to allow the shoot to take place. Even a leper colony looks clean. The use of natural lighting results in some scenes where the actors can barely be seen, the opening is so murky until the dialogue is spoken it is hard to be sure the film has begun.

It is hard to determine the purpose of the half-dozen musical numbers which occur at irregular intervals . They do not, as in musicals, move along the plot or articulate the thoughts of the characters. Indeed, some of the lyrics are confusing with Francesco singing a ballad about his blond love (Chiara is dark-haired) and the closing number not only including profanity but jumping forward centuries to reference the movie Theorem.

It is possible director Nicchiarelli used existing material (by early music ensemble Anonima Frottolisti) rather than songs specially composed for soundtrack. The music works best as wordless spiritual/ Gregorian chants celebrating Chiara’s achievements. Even there, however, there is an element of confusion as the songs are often accompanied by dancing which, true to the authentic tone of the movie, is rough folk dancing but looks more Pagan than Christian.

Chiara lacks basic ingredients, like conflict or an engaging plot, which make up a satisfactory drama. The platonic relationship between Chiara and Francesco allows for some disagreement but there is never the sense of the pupil overtaking the master. As the movie is dominated by Margherita Mazzucco in full charisma overload it is obvious Chiara is going to come out on top.

Susanna Nicchiarelli takes a respectful approach to Chiara’s achievements taking seriously the claim she performed miracles. There is a moving, wordless reaction, by a tearful nun, to a colleague being brought back from death’s door. While Chiara is so confident in her abilities at one point, she asks casually whether she has just performed another miracle she is also quick to dismiss those who regard her medicinal skills as miraculous.

Luigi Lo Cascio as a cardinal/later pope is used to articulate the dismissive attitude of the church authorities towards women but also gets to bring out a touch of humour. The script describes Francesco as the Lord’s last madman, but Andrea Carpenzano avoids any sense of eccentricity or radicalism playing the role as a doe-eyed soulful hippy. By contrast Margherita Mazzucco interprets Chiara as a gunfighter moving towards a showdown. The film is full of images of her staring steel-eyed into the camera as she prepares for a confrontation. Mazzucco brings much-needed drama to a film dominated by lengthy scenes of characters debating fine points of church rules which are unlikely to be of interest to most viewers.

Despite a compelling central performance Chiara remains a curiosity – an unconventional way of telling the story of a saint.

From Venice to London 2023 runs from 3-5 February at Curzon Soho.

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Unconventional curiosity

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The Reviews Hub Film Team is under the editorship of Maryam Philpott.

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