Carmen is the new short film written and directed by Gabriella Parisi, the story is loosely based on the novel by Prosper Mérimée published in 1845 from which is also ispired the unforgettable and acclaimed opera by Georges Bizet.
The original soundtrack is composed by Alessandro Porcella, musician, film composer and music producer, who is been nominated for numerous international awards. In the past, he has worked together with the artist for the soundtrack of Fly on the blue side and Over Game, this last exhibited at the 54th International Art Exhibition, La Biennale di Venezia, in 2011.
The character of Carmen, according to Gabriella Parisi, embodies the prototype of an independent female personality full of passion which is inherently loyal only to the idea of ​​love and freedom, not to her men and to the social rules. In addition, Carmen is a character so different from those sketched by Ibsen with his Nora, in A Doll's House and Alexandre Dumas fils, in La Dame aux Camélias (literally The Lady of the Camellias, commonly known in English as Camille) with Marguerite , much to highlight all the signs of a contemporary female stance against the dictates imposed by the "male-dominated" thought which reduces love at mere possession, leaving anything margin of freedom to woman. The tragic conclusion of Carmen's life is the swan song of a destiny from which couldn't escape but at the same time is an exaltation of the supreme value of freedom to which Carmen doesn't want to give up not even in front of the specter of death, sacrificing her own life.
Carmen by Gabriella Parisi doesn't aspire to be faithful to novella of Mérimée but to idea of ​​expression's freedom, a freedom that is not wound on a single meaning but which dissects, in a frantic search of truth about the meaning of reality, multiple interpretations and images, amplifying the point of view. In addition, the art film is steeped in the poetic spirit of Rimbaud's Illuminations and, in some respects, is intimately interconnected to his research and vision.
The diegetic rhythm of Carmen runs on the tracks of metafiction, with images's  accelerations of postmodern matrix and contemplative brakings aimed at the "deconstruction" of the sense, reflecting on the same reflection, with a restitution of a highly imaginative storytelling, totally renewed and in momentum cathartic, aiming to plunge into the deepest meanderings of thoughts which animates the acts of Carmen. Ultimately, Carmen suggests "potential finals" that open the scenario on a reality in progress which gets rid of its end and that is modeled, however, with the viewer's sensitivity and conceptually referring to ontological freedom which tries a deeper meaning in life and to be reunited with the transcendent dimension.