Beyond the Podium: Giulio Bertelli’s “Agon” and the Techno-Realist Exploration of Competition
Giulio Bertelli, son of Prada Group founders Miuccia Prada and Patrizio bertelli, isn’t following the expected path. While his lineage places him within one of the world’s most influential fashion empires, Bertelli has forged his own creative identity, culminating in the release of his debut feature film, Agon. This isn’t a celebrity side-project; it’s a deeply considered, visually arresting work that challenges conventional sports narratives and delves into the philosophical undercurrents of competition, performance, and the very nature of reality.
Agon isn’t easily categorized.The film centers on three female athletes – a judoka, a fencer, and a shooter - as they train for the fictional 2024 ludoj Games.However, to label it simply a sports film would be a disservice. it’s a hybrid, a blurring of documentary realism and stylized abstraction, a “techno-realism” as Bertelli himself describes it. The film’s aesthetic is deliberately unsettling, oscillating between intimate observation and dreamlike sequences, prompting viewers to question what they are seeing and, more importantly, why.
From Architecture to Sailboats to Cinema: A Unique Creative Trajectory
Bertelli’s journey to filmmaking is anything but linear, a testament to a restless intellect and a commitment to following his passions.His initial academic pursuits led him to the Architectural Association in London, a renowned institution known for its theoretical approach to design. “I’ve thought about making films since high school,” Bertelli explains. “There was a moment when I realized that there was an individual director behind a film, and that interested me more then the actors. I understood that cinema was the graphic or visual manifestation of a thought, an interpretation of the world going on around you.”
Though, the path wasn’t direct. A desire for hands-on experience and a break from intellectual circles led him to the world of competitive sailing. For over a decade, Bertelli excelled at the highest levels, working with prominent teams like Luna Rossa (Italy’s America’s Cup challenger) and collaborating with seasoned sailors like Giovanni Soldini. This period wasn’t a detour, but a crucial phase of progress. He established a research and design studio, applying his analytical skills and technological understanding to the challenges of nautical engineering. This experience honed his problem-solving abilities and instilled a deep gratitude for precision and innovation – qualities that are strikingly evident in Agon.
“I was interested in working with my hands and the technological developments in a world that I was familiar with, for family reasons,” Bertelli notes. “It started as a hobby and then became a professional career.” This unconventional background, far removed from conventional film school training, informs his unique viewpoint.
Deconstructing the Olympic Ideal: Sport, War, and the Pursuit of Excellence
Agon doesn’t shy away from complex themes. The film opens with a provocative quote from Pierre de Coubertin, a co-founder of the modern Olympic Games, linking sport to warfare. This isn’t a cynical indictment of athletics, but a historical acknowledgement of its origins.”The 1896 Olympics opened with a shooting event-de Coubertin’s sport-which used to be simply part of army officers’ training and practice for combat,” Bertelli explains. “Later, it became a competitive sport. I am attracted to the relationship between sport and a certain abstraction of violence.”
He emphasizes that the modern perception of sport as a purely positive force is a relatively recent development. Agon doesn’t ignore this history; instead, it interrogates it, exploring the inherent tension between the pursuit of excellence and the underlying drive for dominance. The choice of judo, fencing, and shooting - all combat sports – is purposeful, serving as a visual and thematic anchor for this exploration.
A Film for a New Generation?
Bertelli acknowledges that Agon may not appeal to everyone. Its unconventional structure and philosophical depth demand active engagement from the viewer. However, he expresses optimism that it will resonate with younger audiences.
“Maybe it won’t appeal to everyone, as I would have liked. But I have the feeling that young viewers especially will understand it,” he says. this belief stems from his own perspective, shaped by a lack of traditional cinematic experience.”Maybe it’s because I don’t have a long history [in film]. I haven’t worked in cinema,and my point of view has remained that of my 2
