An Italian singer presenting Gloria!, a pop musical at the 74th Berlinale: it has to be said, we weren’t really expecting it. And it’s a nice surprise.
It’s “THE” feminist musical we weren’t expecting at the Berlinale. With Gloria!, Italian singer and now director Margherita Vicario offers us a cinematic pop object, a tribute – whether intentional or unintentional – to Sofia Coppola’s Marie-Antoinette. The pitch? In early 19th-century Venice, a group of young girls study at a music institute. One day, the Pope is due to visit them. The school principal is asked to compose a work in honor of his visit. But not everything goes according to plan…
A number of films at this year’s Berlinale were of necessity: from Mati Diop’s decolonial fable (Dahomey) – which won the Golden Bear – to French writer Christine Angot’s autofiction documentary (A Family). The musical comedy proposed by Margherita Vicario is also a necessary work. Why is it so? Because it brings back into the spotlight the forgotten history of these genius musicians. But also because, with the choice of this “pop” format, her film will be able to reach an audience that might have been put off by a more “intellectual” proposal.
Nevertheless, like Greta Gerwig’s Barbie, Margherita Vicario’s feature film has its limits. In particular, it indulges in a number of facile plot devices and somewhat “obvious” narrative choices. The film can also, at times, give the impression of going round in circles, of stretching itself. Fortunately, the energy and beauty of Gloria!‘s feminist message sweeps all before it: the long standing ovation from the audience following its screening at the Berlinale illustrates this perfectly. In short, a film that does good, and gives hope: it has to be said that there isn’t much of that at this festival, which is – quite rightly – focused on the world’s woes.
