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The Italian Girl is a feature-length gothic tragicomedyabout a dysfunctional familyfighting over the spoils of theirdeceased mother. A mesmerising and witty store,it is full of surreal twists andshocks. Our script is based onthe book by one of the bestnovelists of the 20th century,Booker-winning author IrisMurdoch.

The Italian Girl is a feature-length gothic tragicomedyabout a dysfunctional familyfighting over the spoils of theirdeceased mother. A mesmerising and witty store,it is full of surreal twists andshocks. Our script is based onthe book by one of the bestnovelists of the 20th century,Booker-winning author IrisMurdoch.

The estranged son returns for his mother’s funeral. Her will ismissing, secrets are uncovered, tensions erupt as a 500-year-old curse is unleashed. In 1964, Edmund Narraway returns to his family’s isolatedgothic house for his mother Lydia’s funeral. He plans to leavequickly, once he’s claimed his inheritance. But the will ismissing, and he’s forced to stay—trapped for seven turbulentdays in a decaying house teeming with secrets and lies. His witty alcoholic brother Otto and his melodramatic wifeIsabel are both having affairs. Their teenage daughter Flora ispregnant by her mother’s lover and father’s apprentice,David. And Edmund himself is unravelling, haunted byflashbacks of brutal electroshock therapy because of hissexuality. David Levkin and his mystical sister, Elsa, giveconflicting accounts of their past - refugees from the USSR orLondon drifters. David is a provocateur, thriving on chaosand Elsa, with her tarot cards, can read the future. An old book in Lydia’s suitcase reveals a dark legacy — thehouse stands where six women, accused of witchcraft, wereburned. Their power passed to the tyrannical Lydia and hersecret circle: the Italian Girls. Maggie, the final disciple, thesilent servant and Lydia’s secret lover, holds the truth, andher transformation leads to an explosive finale when the willis read.

The estranged son returns for his mother’s funeral. Her will ismissing, secrets are uncovered, tensions erupt as a 500-year-old curse is unleashed. In 1964, Edmund Narraway returns to his family’s isolatedgothic house for his mother Lydia’s funeral. He plans to leavequickly, once he’s claimed his inheritance. But the will ismissing, and he’s forced to stay—trapped for seven turbulentdays in a decaying house teeming with secrets and lies. His witty alcoholic brother Otto and his melodramatic wifeIsabel are both having affairs. Their teenage daughter Flora ispregnant by her mother’s lover and father’s apprentice,David. And Edmund himself is unravelling, haunted byflashbacks of brutal electroshock therapy because of hissexuality. David Levkin and his mystical sister, Elsa, giveconflicting accounts of their past - refugees from the USSR orLondon drifters. David is a provocateur, thriving on chaosand Elsa, with her tarot cards, can read the future. An old book in Lydia’s suitcase reveals a dark legacy — thehouse stands where six women, accused of witchcraft, wereburned. Their power passed to the tyrannical Lydia and hersecret circle: the Italian Girls. Maggie, the final disciple, thesilent servant and Lydia’s secret lover, holds the truth, andher transformation leads to an explosive finale when the willis read.

TATEVIK: The Italian Girl has been on my top list for years as a greatnovel to adapt into a film because of its unique blend of black comedy,gothic horror, period piece and a family drama, sprinkled withShakespearean and Greek tragedy elements. While it’s a period piece, its narrative strands — women’s rights,abortion, homophobia, immigration, as well as the elements we added— tarot cards, dream sequences, supernatural twists — are relevantand interesting to today’s audience. Edmund, the unreliable narrator, gives us at times funny, at times darkinsights into his thoughts and memories, still wounded by theelectroshock ‘therapy’, administered to ‘cure’ his homosexuality. Anddespite having a male protagonist, The Italian Girl is a story of womenwho, while seemingly free, are oppressed in different ways—whetherit’s because of their economic status, lack of education, sexuality,unwanted pregnancy, or simply because they’re a foreigner. But theyall know what they desire, whether it’s freedom, money, or, as one ofthe characters puts it, emotions and pistol shots. Writer & Producer Director & Producer Garo Berberian Tatevik Ayvazyan9

TATEVIK: The Italian Girl has been on my top list for years as a greatnovel to adapt into a film because of its unique blend of black comedy,gothic horror, period piece and a family drama, sprinkled withShakespearean and Greek tragedy elements. While it’s a period piece, its narrative strands — women’s rights,abortion, homophobia, immigration, as well as the elements we added— tarot cards, dream sequences, supernatural twists — are relevantand interesting to today’s audience. Edmund, the unreliable narrator, gives us at times funny, at times darkinsights into his thoughts and memories, still wounded by theelectroshock ‘therapy’, administered to ‘cure’ his homosexuality. Anddespite having a male protagonist, The Italian Girl is a story of womenwho, while seemingly free, are oppressed in different ways—whetherit’s because of their economic status, lack of education, sexuality,unwanted pregnancy, or simply because they’re a foreigner. But theyall know what they desire, whether it’s freedom, money, or, as one ofthe characters puts it, emotions and pistol shots. Writer & Producer Director & Producer Garo Berberian Tatevik Ayvazyan9

GARO: The Italian Girl is a sumptuous proposition for a director: fromthe moment I read the book, I wanted to make the film: a gothictragicomedy, witty yet dark, mystical yet real, tragic while full of life. It’sa rollercoaster of a story with a multitude of twists, set against thestunning Northumberland coastline. All seven characters in ourensemble cast have wonderfully nuanced roles, developing andchanging as revelations, deception, and mystical forces come into play,eventually uncovering their true faces. I look forward to working withthe actors to bring these characters and their fascinating interactions tolife. I will give each of our characters a distinct colour palette, using visuallanguage to reflect their human nature, seen in their costume andspaces. We will shoot the film in two formats and with a selection oflenses I own. The main narrative will be shot on a RED Helium camerapaired with vintage analogue prime lenses. To capture the energy ofaction scenes, we will pair the RED with Modern Angenioux EZ2 zoomlenses with pro-mist filters. This combination of camera, lenses andfilters alongside a look developed with my colourist, will deliver anauthentic 1960s aesthetic. Edmund’s dream sequences will be shot on a 16mm Bolex camera,giving a visually divergent tone. For Edmund’s nightmares, we will useKodak Double-X black and white film with Cyan filters, darkening skintones, increasing grittiness. Otto’s dreams, in contrast, are metaphorswith a vibrant palette, so we will use Kodak 250D film. For both dreams,we will use ultra-wide-angle and telephoto lenses to create a sense ofdiscombobulation, and this is just one of the feelings the audience willbe immersed in a visceral and thought-provoking production.Art is used as a visual metaphor throughoutthe film, a backdrop for the interplaybetween the characters.

GARO: The Italian Girl is a sumptuous proposition for a director: fromthe moment I read the book, I wanted to make the film: a gothictragicomedy, witty yet dark, mystical yet real, tragic while full of life. It’sa rollercoaster of a story with a multitude of twists, set against thestunning Northumberland coastline. All seven characters in ourensemble cast have wonderfully nuanced roles, developing andchanging as revelations, deception, and mystical forces come into play,eventually uncovering their true faces. I look forward to working withthe actors to bring these characters and their fascinating interactions tolife. I will give each of our characters a distinct colour palette, using visuallanguage to reflect their human nature, seen in their costume andspaces. We will shoot the film in two formats and with a selection oflenses I own. The main narrative will be shot on a RED Helium camerapaired with vintage analogue prime lenses. To capture the energy ofaction scenes, we will pair the RED with Modern Angenioux EZ2 zoomlenses with pro-mist filters. This combination of camera, lenses andfilters alongside a look developed with my colourist, will deliver anauthentic 1960s aesthetic. Edmund’s dream sequences will be shot on a 16mm Bolex camera,giving a visually divergent tone. For Edmund’s nightmares, we will useKodak Double-X black and white film with Cyan filters, darkening skintones, increasing grittiness. Otto’s dreams, in contrast, are metaphorswith a vibrant palette, so we will use Kodak 250D film. For both dreams,we will use ultra-wide-angle and telephoto lenses to create a sense ofdiscombobulation, and this is just one of the feelings the audience willbe immersed in a visceral and thought-provoking production.Art is used as a visual metaphor throughoutthe film, a backdrop for the interplaybetween the characters.

To connect the mystical narrativestrand to our characters, we useTarot cards.Elsa Levkin prophetises the futureand can see the past using herbespoke Tarot cards, which shecreated herself, using Polaroids of thehousehold members.

To connect the mystical narrativestrand to our characters, we useTarot cards.Elsa Levkin prophetises the futureand can see the past using herbespoke Tarot cards, which shecreated herself, using Polaroids of thehousehold members.

Otto Narraway (Edmund’s brother)34 years old, 6’3’’ tall, with red hair and blue eyes; a broad manwith exceptional physical strength. An alcoholic, a philosopher,and sometimes a comedy character, Otto is unfulfilled, havingfailed as an artist, husband, son, and father. Edmund Narraway32 years old, tall and slim, good-looking, uptight, careful, lookingmore like an accountant than an engraver. He’s the narrator, fullof doubts, judgment, and trauma, some of which are heard inhis voiceovers and seen in his dreams and flashbacks.Isabel Narraway (Otto’s wife)32 years old, with thick auburn hair. A Femme Fatal, victim,seductress, Isabel had created her little world —a lushboudoir. Dressed in beautiful outfits, she has nowhere to go,caged and bored, scared to claim freedom. Flora Narraway (Otto’s daughter)16 years old, a redhead with green eyes. Young, arty, explosiveand impulsive, she lives in the swinging 1960s. She isabandoned by everyone in the house, but goes through anillegal abortion on her own. Maggie Magistretti (The housemaid) 39 years old, slightly built, with raven hair and amber eyes.She’s always silent and is omnipresent. She goes through adramatic transformation after Lydia’s will is discovered,and angry Flora chops off her ponytail. Lydia Narraway (Edmund’s & Otto’s mother)Died at 70, petite, with grey hair that used to be copper,cobalt blue eyes. Even after her death, Lydia remains acentral character. She is powerful, controlling and instilsfear in the household. Elsa Levkin (David’s sister)25 years old, with metallic hair. She is likely to be foundin the garden, observing everyone with her Polaroidcamera. She has a talent for Tarot readings andprophecies, but is not heard, just like Cassandra. David Levkin (Otto’s apprentice)26 years old, handsome, athletic and well-dressed, Davidattracts attention immediately. He’s the provocateur, thegambler, the player, and the joker. He calls himself a Lion,roaming the grounds of the Narraway house .

Otto Narraway (Edmund’s brother)34 years old, 6’3’’ tall, with red hair and blue eyes; a broad manwith exceptional physical strength. An alcoholic, a philosopher,and sometimes a comedy character, Otto is unfulfilled, havingfailed as an artist, husband, son, and father. Edmund Narraway32 years old, tall and slim, good-looking, uptight, careful, lookingmore like an accountant than an engraver. He’s the narrator, fullof doubts, judgment, and trauma, some of which are heard inhis voiceovers and seen in his dreams and flashbacks.Isabel Narraway (Otto’s wife)32 years old, with thick auburn hair. A Femme Fatal, victim,seductress, Isabel had created her little world —a lushboudoir. Dressed in beautiful outfits, she has nowhere to go,caged and bored, scared to claim freedom. Flora Narraway (Otto’s daughter)16 years old, a redhead with green eyes. Young, arty, explosiveand impulsive, she lives in the swinging 1960s. She isabandoned by everyone in the house, but goes through anillegal abortion on her own. Maggie Magistretti (The housemaid) 39 years old, slightly built, with raven hair and amber eyes.She’s always silent and is omnipresent. She goes through adramatic transformation after Lydia’s will is discovered,and angry Flora chops off her ponytail. Lydia Narraway (Edmund’s & Otto’s mother)Died at 70, petite, with grey hair that used to be copper,cobalt blue eyes. Even after her death, Lydia remains acentral character. She is powerful, controlling and instilsfear in the household. Elsa Levkin (David’s sister)25 years old, with metallic hair. She is likely to be foundin the garden, observing everyone with her Polaroidcamera. She has a talent for Tarot readings andprophecies, but is not heard, just like Cassandra. David Levkin (Otto’s apprentice)26 years old, handsome, athletic and well-dressed, Davidattracts attention immediately. He’s the provocateur, thegambler, the player, and the joker. He calls himself a Lion,roaming the grounds of the Narraway house .

Iris Murdoch is one of the best British writers of the 20thcentury, a fabulous, exciting novelist, who has beennominated for the Booker Prize seven times, winning it forher The Sea, The Sea. In 2023, the Booker Prize statuettewas named Iris, after her. She’s much loved in Ireland too,with her 100th anniversary recently celebrated with arelease of postage stamps.

Iris Murdoch is one of the best British writers of the 20thcentury, a fabulous, exciting novelist, who has beennominated for the Booker Prize seven times, winning it forher The Sea, The Sea. In 2023, the Booker Prize statuettewas named Iris, after her. She’s much loved in Ireland too,with her 100th anniversary recently celebrated with arelease of postage stamps.

The Cook, The Thief, His Wife and Her Lover The Lighthouse (Robert Eggers, 2019)Gosford Park (Robert Altman, 2001) (Yorgos Lanthimos, 2009)Dogtooth

The Cook, The Thief, His Wife and Her Lover The Lighthouse (Robert Eggers, 2019)Gosford Park (Robert Altman, 2001) (Yorgos Lanthimos, 2009)Dogtooth