Romantic plots are very few, at each elated lifeline.

My protagonist Akhmatova had three spouses (Gumilyov, Punin...) and one artistic mate (Amadeo Modigliani). It is hard to judge who were the best and the worthies for her. But only Modigliani completely belonged to her Mediterranean nation. It is a pure myth that Akhmatova's grandma was a Tatar; most likely she was an Arabian out of the Crimea, of no Mongolian anscestry at all. Three links tightly connect me, as a filmmaker, to Akhmatova's bio.

After my primary screening at Sicilia, Akhmatova's barelief there was eventually opened, back in 2014. She received her last literary prize there, at my favorite Taormina, in the 1960s, far before my birth. Also I keep a summery house in Domodedovo, where Akhmatova happened to pass away at her last residence and estate.

Moreover, I was expected to be born in Eupatoria, where Akhmatova spent her adolescence with her siblings. Also I resided there in 1988 and in 2018, alone and with my parents.

So Akhmatova is my protagonist whom I hold dear to my heart. My plots of her are semanticly meaningful, of a large scale and of a certain significance for me biografically.

I represent my film "The Clay of Magic Sounds" (L'argile des mots) to my wide viewer. It is kept at a versified form; I mold the theme for the European audience, at all allegoric nuances.

By Anna Polibina-Polansky, poetic film director-essayist. datteri@yandex.ru; +79296-605-605.