Variety spoke to Graziosi just before “Tinnitus” screened at Ventana Sur’s pix-in-post Copia Final on Dec. The awaited second feature of Graziosi, whose “Obra” established him as a talent to track, “Tinnitus” is produced by Zita Carvalhosa at Cinematográfica Superfilmes (“Alice’s House”) and Ivan Melo (“Body Electric”).
#Marathi drama script writing series
There’s one moment, for example, in which Marina plunges with her partner in a series of dives silhouetted against a “giallo” red sky, as the modulated score teases out the scene’s dreamlike wonder and undercurrent of horror. She is encouraged by her substitute Teresa, she stages a comeback, though still terrorized by a terrible buzzing in her ears.īut excerpts suggest it plays far more consistently as a psychological thriller layered by multi-level horror and punctuated by dead times developing characters’ emotions which owe a debt to Michelangelo Antonioni. Such credentials will make, almost inevitably, for one of the most polished of entries at Copia Final, Ventana Sur’s pix-in-post competition, where it screens on-site at the Cinemark Puerto Madero on Wednesday.ĭeveloped at the Cannes Festival’s Résidence, “Tinnitus” looks set to weigh in as high art in the service of what on paper may seem a classic sports comeback narrative involving Marina, a high-board synchronized diver, who suffers a serious diving accident caused by tinnitus. Its score is from David Boulter, who played keyboard on Claire Denis’ “Bastards,” collaborated on the score of her “High Life.” Brazilian Gregorio Graziosi’s “Tinnitus” is co-written by Andrés Julian Vera and Marco Dutra, a Locarno best director winner for “Good Manners” its DP is Rui Poças, whose credits include Lucrecia Martel’s “Zama” and upcoming “Tabu.”
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