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THEA MARTI

THEA MARTI
THEA MARTI
Photo by Ilaria Magliocchetti Lombi
THEA MARTI
THEA MARTI

According to Treccani, the term “surreal” expresses or evokes the world of the subconscious, of dreams. I have trouble understanding what definition could be applied to Thea Marti’s idea. It’s made of the same stuff as dreams are, but it’s not surreal, even if this dimension impels her wanderings in Europe and the world. She left Ukraine to discover a Europe of cultural and artistic stimuli. Passionate about the short format, the success of her films lit up her road like little stars, guiding her towards something bigger. Behind her are her university studies in Oriental languages, a modest but insistent fascination with otherness, new dimensions that give access to different layers of culture, to original ways of seeing things. Italy becomes the port from which to embark for other countries, including France - where she worked in production for Jodorowsky - and Mexico, where she wrote a research thesis on the director Luis Buñuel. Her inner life is inspired by surrealism, the need to go beyond the conventional. “PhD Films” is her doctorate, which she has never taken, despite considerable academic training. She’s doing it herself, thanks to support from a Fund for Migration Policy from the Ministry of Labour and Social Policy. “PhD” as in psychedelic, according to the Sabatini Coletti dictionary, the effect of expanding the consciousness and overcoming reality. In this case, it’s the concrete projection of an almost dreamlike vision: a startup that aims to increase the production of women’s film in Italy  through a network of European and international contacts. Above all for women, who are rare gems in this sector, but whose value she sees clearly. In a normal state of consciousness, all this would be surreal, but “PhD Films” is an entity that goes beyond dreams.

The story has been written by Elisa Cappai, writer.

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