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Women Cinemakers meets

Ilaria Di Carlo Lives and works in Berlin, Germany

When I approached the idea of a metaphorical Black Book that records all the tragic events of one’s life, I wanted to explore the involuntary emotional states that trigger impulses of self-destruction and violence. The central theme of the film –and of the Black Book- is love. Love as the inexorable instinct triggered by the state of limerence that ripples through our identity and transforms us. This cathartic process first kills our inner child, and through repetition, erodes adulthood into old age. Through the Black Book, the protagonist stares at her demons reflected in a visual representation of the horror of her mental state that belongs in the realm of lyric poetry. The sheer power of the impulses and the inability of the protagonist, of ourselves, to curb the fear of abandonment and obsession with the loved one echoes the despair of classical tragedy. Reifying the Black Book adds a sinister undertone to the self-exploratory journey into the maelstrom of the inner self the film depicts. Ilaria Di Carlo is a visual artist working in the fields of filmmaking, scenography, and the performing arts. Raised in Italy, she graduated with honours in Scenography from the Fine Arts Academy in Rome and holds a Master in Scenography from the prestigious Central Saint Martin’s College of Art in London. She subsequently studied Digital Film Production at the SAE Institute of Berlin. Her current artistic work focuses on making moving image films that explore the theme of journey, the language of identity and metamorphosis in contrast with landscape and architecture. Her films are highly visual and aesthetic, inspired by the influence and impressive symbolism of the scenography. She has worked as a set, lighting, and costume designer for theatre and film, and as an actress in the total radical fiction theatre ensemble of Vegard Vinge & Ida Müller since 2011. She was also Vinge’s director assistant for the piece 12 Spartenhaus, performed at the Volksbühne in 2013. As a director, she has staged the durational performance Double/Act and the site-specific performance Booloohoom – Nocturne I, loosely based on James Joyce’s Ulysses. Her performance The Black Book inspired her to make her first short film, The Black Book of L. Her filmography includes the short films In Search of Lost Time and The Divine Way, filmed in 50 different locations around Germany.

An interview by Francis L. Quettier and Dora S. Tennant

Hello Ilaria and welcome to WomenCinemakers: we would invite our readers to visit

in order to get a wider idea about your artistic production and we would start this interview with a couple of questions about your background. You have a solid formal training: hold a BA of Scenography, from the Academy of Fine Arts, Rome, and after having earned your MA of Scenography

Profile for WomenCinemakers

Women CineMakers, Special Edition  

Women CineMakers, Special Edition