In the arid and hostil Sicily of the early 20th century, Modesta (Tecla Insolia) – a child with a wild temperament and rebellious nature, in stark contrast to her name – lives in extreme poverty alongside her mother and disabled sister. Following their untimely death, she is entrusted to the care of nuns in a convent reserved for the daughters of the upper bourgeoisie.
Unaccustomed to rules and restrictions, Modesta, with her dialect-infused speech and rural habits, immediately captures the attention of Lenora, the erudite Mother Superior (Jasmine Trinca). Taking the girl under her wing, Lenora provides her with an education (an opportunity still reserved for the privileged few) while guiding her toward a monastic life. However deep within Modesta remains the “wild child” she once was, and the constraints of convent life prove entirely unsuited to her nature. «I want life», she declares and, indeed, she seizes it fully, taking everything it has to offer and beyond, even what it seeks to deny her, regardless of the means. Armed with a new, fierce awareness and a sharpened perspective on the world, she embarks on a deeply personal journey of social ascent.
Bringing to the screen a novel as complex and controversial as The Art of Joy was undoubtedly a formidable challenge, particularly given the troubled publishing history that preceded its recognition – its literary merits acknowledged only after the passing of its author, Goliarda Sapienza. The character she created is quite unique within Italian literature: Modesta is both magnetic and provocative, unsettling yet irresistible, ruthless yet indispensable. She is a woman endowed with an almost terrifying self-awareness, living in an era that denied her gender both autonomy and agency. She defies every social convention, starting with her unrefined dialectal speech that openly mocks propriety, and she refuses to conform to the narrow, oppressive norms imposed upon her. She is willing to overturn these constraints above all through a fearless exploration of her own body, embracing love, sexuality, and all its complexities. From a rebellious child to a determined and audacious woman, Modesta is a figure who transcends her time, embodying a form of activism untainted by moralism – timeless, and necessary.
Valeria Golino (soon to portray Goliarda Sapienza in Fuori, a film about the writer’s life directed by Mario Martone) once again steps behind the camera, demonstrating remarkable skill in directing a cast so perfectly suited to their roles that it is difficult to envision anyone else in them. The ensemble is led by Tecla Insolia, who delivers a compelling and multifaceted performance as Modesta, followed by Jasmine Trinca as the enigmatic and captivating Mother Lenora. Also noteworthy are Valeria Bruni Tedeschi, who portrays the austere Princess Brandiforti with a touch of grotesque comedy, and Guido Caprino in the role of the rugged Carmine.
By reinterpreting certain elements with the collaboration of screenwriters Luca Infascelli, Francesca Marciano, Valia Santella and Stefano Sardo, Golino approaches The Art of Joy with both reverence and sensitivity, breathing new life into this complex narrative and its unforgettable characters.
The series’ first half (Episodes I to III) is particularly compelling, depicting Modesta’s childhood, her formative years, and her transformation into adulthood with striking nuance and depth. Given this strong foundation, sustaining the same level of intensity throughout the second half (Episodes IV to VI) – which follows Modesta as she navigates a shifting society and the consequences of her choices – proves more challenging. Nonetheless, despite its more measured pacing in later episodes, The Art of Joy remains a bold, provocative, and visceral work, capturing the full force of a character who refuses to be forgotten.
A journey of emancipation and desire that reaches its fullest expression in the pursuit of freedom and power – available on Sky from February 28.
