“A fascinating experiment that veers in many seemingly unwieldy directions but ultimately comes together to create something quite compelling.”

What is the outcome of pairing a critically acclaimed opera director and a record producer known for his work in the independent music scene? Few could predict exactly what such a collaboration might look like, but we can assume it would be something quite daring, especially when working with one of the most widely known stories in the history of literature. As part of a brand partnership with Dolce & Gabbana, directors Paolo Gep Cucco and Davide Livermore were recruited to craft a modern retelling of the myth of Orpheus and Eurydice, which has been adapted more times than anyone could count across every conceivable medium and in increasingly creative ways. Their version takes the form of The Opera!, which is both a contemporary and fantastical recreation of the classic story, moving the narrative from Ancient Greece to a distorted version of the present day. It follows the heroic Orpheus as he ventures into the underworld to save his beloved Eurydice, encountering hostile figures that stand as obstacles separating him from his true love. A unique, well-crafted film that subverts common themes and serves as a riff on many genre conventions and tropes, The Opera! is a fascinating experiment that veers in many seemingly unwieldy directions but ultimately comes together to create something quite compelling, if not entirely unorthodox.

When working with such a familiar story, the filmmakers need to quickly establish their vision as essential by offering a clear definition of where their version is going to differ from the many that have come before. This is particularly applicable to a story drawn from ancient mythology since we aren’t dealing with decades or even centuries of retellings, but rather millennia which have shaped and warped this myth to take on many different forms across cultures that look at it as fertile ground for their own unique artistic explorations. Cucco and Livermore approach the Orpheus and Eurydice myth from the perspective of crafting it as a contemporary retelling – it takes place in what appears to be Athens (although no city has ever looked quite like the version they evoke, done mainly through green screen technology to indicate that it is set in a very different reality), and where the locations are more recognizable to modern sensibilities. The underworld, which is where most of the film takes place, oscillates between a hotel, a hospital, and an opera house, the protagonist forced to move through these different levels as he searches for his lost love. Artifice is often viewed as taboo in contemporary cinema, with the right to make use of a more eccentric, off-the-wall style being reserved for a select few filmmakers who have been given the responsibility of safeguarding this approach. The Opera! is an intentionally ornate and exaggerated film, blurring different styles together to create something quite effective, even if its embellishments don’t leave much space for the story to organically flourish.

Coupled with the unconventional nature of the film and how it addresses the original text, The Opera! is tasked with updating the central players to be more reflective of its unique setting. The two leads, Orpheus and Eurydice, are portrayed by Valentino Buzza and Mariam Battistelli respectively, trained opera singers whose incredible voices guide us through the story and make the tale of these lovers torn apart by sinister forces all the more captivating. These are challenging parts, and the directors enlist these actors to deliver performances which are not only based around their technical skill in handling the somewhat intimidating score, but also convincingly playing these parts, which seems to come naturally to both of them. Additionally, the supporting cast is littered with exceptional actors who are cast not for their singing ability, but rather to anchor the film with the strength of their acting skills. Vincent Cassel is the elfish psychopomp Charon, who is translated from the underworld ferryman to a taxi driver; Fanny Ardant is Proserpina, the Goddess of the Underworld; and Rossy de Palma is Moire, a singular representation of the Three Fates that guide Orpheus towards his destiny. The playful supporting performances interweave beautifully with the more intense leading parts, creating a vivid tapestry from which this film is able to make some intriguing creative choices in its pursuit of recreating the events of this fascinating fable that has persisted throughout generations.

The Opera! is a film that requires a substantial amount of suspension of disbelief, especially for those who still allow themselves to be guided by the concept of style over substance as a legitimate metric for artistic analysis. For those seeking an accurate, straightforward retelling that is faithful to the original myth there are more suitable versions than this one, which is instead an abstract attempt to use the underlying themes of the classic story to explore a few fascinating themes that exist outside the context of antiquity, but still fit in oddly well with the central plot. The film does depend on the viewer being able to leap onto its wavelength since a more conventional view would likely reduce it to yet another retelling of a classical myth, paired with garish visuals and over-the-top tonal shifts, which can be an acquired taste for those who enter into the film unaware of its unique nature. Yet, these exact qualities are ultimately what makes The Opera! such an unusual spectacle, and one that is much more than a barrage of bright colors and well-crafted couture; as far as brand partnerships go, this is a surprisingly elegant and compelling affair, rather than just an opportunity to showcase the fashion house’s catalogue, as is often the case with these collaborations. Perhaps the message delivered in the third-act twist is not as impactful as the directors may have hoped, and the slight lack of cohesion means that it doesn’t entirely come together as well as expected, but the overall experience is well worth the time it took to tell this story, proving that mythology can still be quite exciting and artistically resonant, when a unique perspective can be found by those tasked with reviving these timeless stories.