VANITA

By Kevin PONTUTI

PENITENT PRODUCTIONS - as PROD

Fantasy - Completed 2017

A young woman finds a strange mirror.

Festivals
& Awards

NIGHTMARES 2017
International
Flyway 2017
Sofia IFF 2017
International
pigrecozen 2017
International
Richard Harris Film Festival 2017
International
FEDAXV 2017
International
Los Angeles Underground Film Forum 2017
Slow Cinema - Award and Audience Award
Sacramento International Film Festival 2018
International
    • Year of production
    • 2017
    • Genres
    • Fantasy
    • Countries
    • USA
    • Languages
    • No dialog
    • Budget
    • 0 - 0.3 M$
    • Duration
    • 10 mn
    • Director(s)
    • Kevin PONTUTI
    • Producer(s)
    • Peter GALANTE (PENITENT PRODUCTIONS), Kevin PONTUTI (PENITENT PRODUCTIONS)
    • Synopsis
    • VANITÀ is the third installment in Kevin Pontuti's Poetry of Penance project, which uses magical realism to explore themes related to resilience and self-acceptance. VANITÀ was partly inspired by the historical tradition of Vanitas painting. The film explores topics related to obsessive compulsive behavior, notions of self-image, and destructive behaviors relating to vanity.

      "The dark and dreamlike episode that confronts the viewer in Kevin Pontuti’s VANITÀ is rich in the suggestion of imagery recounting the long human struggle with balancing the lures of the world with the needs of the soul. His solemn woman before a mirror, whose red hair glints in the darkness around her, is redolent of portrayals of the penitent Mary Magdalene, a woman whose physical past is shed to find her spiritual core. Pontuti’s wordless image especially reminds of quiet scenes of contemplation, like Georges de la Tour’s painting of the Penitent Magdalene, where the sinner looks toward a mirror, a traditional symbol of vanity, and is reminded by the insubstantial flame of the transience of earthly life. In Pontuti’s film, the woman’s disturbing moments of disgorging a part of herself- a physical part of herself- is the equivalent in the painting of the quiet skull, hollow with gaping dark orbits, that implies mortality and the willing abandonment of the physical, sensual past. But while the Magdalene lets her earthly beauty go, the woman in Pontuti’s film resorbs that aspect of physical sensuality that links her to world. Her quest for redemption and transformation has not yet found resolution." Sarah Diebel, PhD