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Salvatore Maira
This film was realized with a single shot. Even the flash backs don’t interrupt the flowing of the narration because they are simultaneous to it.
It has nothing to do with stylistic virtuosity, nor is it a technological boast, the film was conceived in such a way from the very first narrative and musical inspiration.
The Waltz of the title is the one played on screen by a small orchestra and which accompanies the musical pace of the story, structured on two different architectural and narrative levels.
In an hour and a half (the time of the projection is the same as that of the action) the life of two people changes indelibly: at the lower floors of a great hotel, in the service quarters, a young maid and a man meet in a situation which breaks all certainties and identities. The story of Assunta, of Lucia and of her father: a father who believes he will meet his daughter after twenty years of absence and finds instead an unknown woman who has taken her identity.
Simultaneously, at the higher floors, the great managers of football mirror themselves in the cynicism and greed of their actions, while they try to understand, and stem the storm unleashed by the scandal in which they are part.
The two stories which flow side by side, will suddenly meet in a dramatic short circuit.
The single long shot ties together the stories and subplots in a single, apparently buoyant, waltz which becomes therefore the form of uncertainty.
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