Max Bellocchio
L'intervista

What I am about to do represents a tremendously delicate memory effort.

First of all, this is one of the rare cases where Mother Internet could not provide me with an answer. Years of searching yielded not a shred of a result. And not even the poster of the film in question (which I have vividly in mind) is currently available online.

It was the splendid year 2000, I was in junior high school, and I jealously guarded a copy of the movie "L'Intervista," probably the only one that exists. Where that VHS came from is no one's business.

The direction is credited to Max Bellocchio, an artistic surname wisely adopted to blend in with directors of the same name and ensure a 0% chance of appearing among the first twenty million results on search engines. In short, it might seem like I'm talking about an invented film, so it's more of a contest than a review. Whoever finds something about this damn film, has won.

Shhhh, it begins. Tika and Penelope are two active pornstars who give an interview to this talented director. And from here on, the film has little to say. Or rather, I don't remember much, but what I do remember, I remember with pleasure. Tika tells us "about her first pee scene" with an industry professional who initially inhibited her, but then brought out the best in her. Penelope, with those Latin features and nose shaped like a wallet, recounts how her experiences with actors often continued off-set, confirming her reputation as an insatiable Latina: they are flashbacks to episodes that narrate the careers of these two divas, where nothing is really, really missing.
Nothing special, but the ending is surprising.

After the story, with "cameras off," the director takes a break and leaves the house that had so far been the place of the interview (to go where?), leaving the two actresses with "Mighè", the sound technician who had remained in the shadows until now. Clearly neither Tika, nor Penelope, nor Mighè want to let this opportunity go to waste.

And thus begins a colossal screw. Too bad that, a few minutes later, good Max returns to the room, highlighted by a Neapolitan-accented dubbing, and enters, reprimanding poor Mighè, who fell into the trap of the two demonic temptresses. He looks at Max, then lowers his gaze, puts everything back into his pants, and takes away the camera. The film, if I'm not mistaken, ends there.

From what I remember, the photography was the film's strong point, after all, at thirteen, the first thing you look at in a porno is the photography.