莱奥诺拉的-告别

　　Th ree\-@; years after the lo?ss of]  his bro$ther Vittori ).o_
, with=. =`#whom he shared hi-s enti?%*`r],e car=:eer,  Paolo T/ *aviani r_.et;
_urns to the *works o/ f Luigi Pi]randello, which the pair ]_adap$ ted in 1984 (Chaos)%? and 1998 (Y;ou Laugh) : . :.In ke=.
;eping with@=? the Sici\)lian %) ^playwright.$’s vi) sion, the film is not at a:ll what `it appears to be.\- ,#+The- title may( c!+\ome from a 1910 novella, bu!`t$/ there is (^no tr[%ace of that book+’s` jealousy*;-!riddled plot. Instead(% =,# t_!he focus _is on[ Pirandello - himself, or@?; rather, hi)]`s ashes, which^)#.; are _;` transported ;!from= a+* hasty burial site ^in fascis! t Rome @.[to a perman$e[n](t restin *g plac
%e in Sicily, on ]/[ a\ trek that takes us through  post-war I^ tal/_y? and its]- -filmed -
m ((emories, as! s
!een in ne; wsreels, amateur] films and fr-agments of Neorea^\`lism. H %avi_ng @buried the$= maste=/r, Leonora addio then shift: s gear from roa+ ?#d)? mov @ie; to: film adaptati`
on, ! but here it p/ic;:k]s% )^a different Pirandello stor
)y, namely the last:: @^$o ne,^ written sh ortly befor)]*,e his [de @ a+=t#!(h in 1936. F[,=rom the farewell of the title to its? r+ eturn to # the writ=,e _*r’s #las.t words, it @=is hard n^=ot to (read th[is work, so free and@[_% yet s(o m(uch a= part of the .`_Ta[.viani wo[
;
rld, a^!s= @ a_  moving brot(_herly) far`:
ewell ]]w,#hich?#-^, jus[^t as .\in :
/2?@0 12?(’s `#Golden B ea%$r /%winner C-\aesar Must ^)Di* ;e\., once agai\:_n ](uses ci.?#nema to giv@e -[;`voice to literatu*]re and histo@)ry.