Stromboli: Is It Based On A True Story? Plot, Review, Where To Watch, Production and More

The 2022 Netflix original film “Stromboli,” which was directed by Michiel van Erp, centres on Sara (Elise Schaap), a recently divorced woman who travels to the titular volcanic island. She is always intoxicated and feels lost in life

She destroys the house she was renting and gets kicked out after losing her phone and money. She arrives in a church feeling sleepy and hungry, where she meets a man named Jens (Christian Hillborg).

Jens brings Sara to the From Fear to Love Retreat he is a part of after realising that she had nowhere else to go.

Sara begins her path toward healing by reflecting on her history and present, while first being confused and disdainful of what is going on around her at the retreat.

The story of “Stromboli” is subdued and powerful, inspiring its viewers to confront the suffering and anguish in their own lives. If you’re wondering whether “Stromboli” is based on real occurrences as a result of this, we’ve got you covered.


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Stromboli: Where To Watch?

Yes, ‘Stromboli’ largely draws inspiration from a true story. The semi-autobiographical book of the same name by Dutch author Saskia Noort was converted into a screenplay by Roos Ouwehand and Paula van der Oest, from which Van Erp created the movie.

Noort, who is best known for her criminal thriller novels, makes her memoir and conventional literary debut with “Stromboli.”

Sara, a journalist and author in Noort’s book, appears to lead a wonderful life with her husband and two kids. But later, the illusion is shattered when Sara leaves her marriage due to her husband’s drunkenness and her difficulties with her prior traumas—she was raped as a youngster.

Sara quickly discovers that her friends and neighbours have stopped talking to her after the split. These are some of the elements, including the rape, that Noort borrowed from her own experiences.

The author admitted in an interview that she had second thoughts about writing about her youth. “I reasoned that everyone would claim that I acted in this manner for business gain. But that is complete s**t.

Despite some of the story’s elements being genuine, Noort insists that the book is primarily made up. She claimed, “The man leaving Sara was not my husband.” “I’ve had to remind my kids of that. The same thing I’ll say to others: “This is not a carbon copy of you or me.

Stromboli: Is It Based On A True Story?

“I have somewhat polished the incidents and blended them with anecdotes about others,” Noort continued. However, some of the issues I have faced are undoubtedly included. like the protracted quiet I received from my husband and parents.

Since many people believe that a rape is about them, I was frightened to hurt them. My father and mother would likely feel regret and ask how they could have stopped it, I decided for them. I was concerned that they would haul me to the police or harm the offender.

Van Erp claimed in an interview with Het Parool that he went to see the movie with Noort, and the two of them ended up crying. Sara’s stay at the From Fear to Love Retreat is included in the final chapter of the book, but it takes up the most of the narrative in the movie because that is what initially piqued the filmmaker’s interest. This is a significant difference between the book and the movie.

In my documentary work, I’ve spent a lot of time following this world, he stated. “I have seen and documented everything, from men who lost their manhood to healing sessions.

Frequently humorous, poignant, and most importantly, incredibly daring. How far people will go to fix their difficulties is sometimes really inspiring to me.

In conclusion, “Stromboli” is based on a factual story and contains a substantial quantity of autobiographical material, but these components experienced a fictionalisation process at least twice—once when Noort wrote about them and a second time when Noort’s book was made into a movie.


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Stromboli: Review

  • It comes as a startling anticlimax to learn that this highly praised movie is incredibly weak, inarticulate, uninspiring, and painfully banal after all the unprecedented interest that “Stromboli” has aroused — it being, of course, the fateful drama that Ingrid Bergman and Roberto Rossellini have made.
  • At least, it is impossible to characterise this title more favourably than how it appeared on screens yesterday at the Criterion and numerous local theatres.
  • It is unclear at this point whether Rossellini, the film’s producer and director, can be held entirely responsible for this disappointing outcome of great hopes and illustrious endeavour.
  • Its distributor, RKO, might be held partially accountable. Because there is a report that RKO significantly re-edited the footage and the “cut” of the movie that its producer-director in Italy had produced, adding to the mystery and confusion already surrounding this movie.
  • Additionally, a cable from Rossellini that was delivered on Tuesday suggests that this is not the “version” that he initially planned.
  • Whoever is to fault, no professional—least of all, two prominent artists—can be proud of the odd picture that was leaked to the American public yesterday.
  • Because the entire movie has a peculiar listlessness and incoherence that makes it seem as though sincere amateurs rather than masters were responsible for its conception and production.
  • Even amateurs might restrain themselves from some of the flagrant banalities in this movie.
  • Let’s be quite direct about this. The story is unremarkable; neither its ingenuity nor its eloquence in the details set it apart.
  • The attractive Miss Bergman portrays a Czechoslovak woman who marries an Italian ex-soldier to get away from a displaced persons camp and moves in with him on the desolate volcanic island of Stromboli without falling in love or showing any interest.
  • The lady clumsily makes an effort to support herself there in harsh and depressing surroundings, among individuals who appear to be as depressing.
  • She hopes to approach the village ladies, asks the priest for some meagre assistance, and even makes brave (but obviously innocent) eye contact with a lovely boy.
  • She finally attempts to leave the island with her child in tow but is stranded on the slope of the active volcano where she undergoes regeneration in the noxious gases and smoke.
  • She is prepared to return to her home, radiant, with redemption and the blessing of the screen’s Production Code, as the sun rises over the serene mountain.
  • The action of the story is dull and paceless, played largely in static medium shots with Miss Bergman placed against lovely backgrounds, engaged in various duologues, with the exception of a few vivid episodes that are abruptly inserted into this tale as though to provide local color—such things as a realistic scene of Stromboli fishermen netting tuna or a flash eruption of the volcano, with the villagers’ flight.
  • Due in part to the haziness of the writing and in part to the dullness and monotony with which Rossellini has directed her, the lady’s character, if she has one, is sadly never defined with clear and illuminating clarity.
  • Miss Bergman’s facial expressions are expressionless, her demeanour is erratic, and any passion or wild energy her character may have is concealed.
  • She frequently wears an oddly rosy and sparkling style that contrasts with the islanders’ harsh hardness like false makeup. These underprivileged actors—both natives and “unknowns” cast in a few critical roles—show utter awe and self-consciousness when they are near her.

Stromboli: Plot

The spouse, played by Mario Vitale, is a charming dark-skinned tiny man who only has a dutiful nature to attempt to do what he is instructed, in this case, to only gaze at Miss Bergman lovingly and then hit her a few times. He acts like an overexcited fan when he is doing one of these simple tasks.

Both Renzo Cesana, the quiet priest, and Mario Sponza, the young boy the woman innocently admires, are deeply moved.

In addition to being mysterious to those who are not familiar with it, a significant over-larding of Italian conversation that is not translated in any manner bothers the ear due to its abundance of broken English.

The producer’s brother, Renzo Rossellini, who worked on the movie, created a very ornate musical soundtrack that also assaults the ears. His score makes a lot of noise during the scene in which Miss Bergman pant fiercely and try desperately to climb Stromboli’s side.

It and the scene seem to be desperately trying to add some satisfying excitement to a picture that, despite everything, lacks any.

The public appeared to be accepting of the Rossellini-Bergman drama, according to an Associated Press survey of the metropolitan area, upstate New York, and New Jersey, where “Stromboli” debuted yesterday.

The number of visitors fluctuated, with some theatres reporting very high business and others reporting average to erratic attendance.

Stromboli: Production

Roberto Rossellini wrote the STROMBOLI screenplay in collaboration with Art Cohn, Renzo Cesana, Sergio Amidel, and G. P. Callegari.

He also directed and produced the film, which was released by RKO Radio Pictures. over 120 theatres in the metro area, including Loew’s Criterion.

Karin, Ingrid Bergman, etc. ….. Antonio Mario Vitale Renzo Cesana is known as “The Priest.” The Keeper of the Lighthouse is Mario Sponza.

The Dutch drama film “Stromboli” on Netflix is based on Saskia Noort’s 2018 book of the same name. It was made by Michiel van Erp.

It centres on Sara, a recently divorced woman who gets into a quarrel with her daughter after ending her marriage and finds herself in a challenging circumstance.

She arranges for herself to attend a self-help retreat on a beautiful volcanic island in order to briefly escape from all of her problems.

However, Sara’s vacation becomes something she never expected when the guru and the group of distressed people engage in role-playing and exercises.

Elise Schaap, Tim McInnerny, Christian Hillborg, and Pieter Embrechts are among a remarkable group who give outstanding on-screen performances to complement the dramatic story, further enhancing its excellence.

The picturesque setting of the volcanic island against the background of the wide waters is also reason enough to make one wonder where the movie “Stromboli” was filmed. If you are a person who is naturally curious, you might find what we have to say interesting!


Stromboli: Filming Location

Filming for “Stromboli” took place in North Holland and Stromboli, mainly in Italy and the Netherlands. Early in November 2021, the drama film’s principal photography began, and it was finished by the end of the same month.

However, it seems that the production crew came back to record a few extra segments in January 2022. Let’s accompany Sara on her little getaway now and get a full explanation of every individual location that appears in the Netflix film!

Italy’s Stromboli

The production crew decided to film the majority of “Stromboli” on the same scenic island because the plot is primarily set on Stromboli, an island off the north coast of Sicily, in order to provide spectators a more immersive experience and to keep things as authentic as possible.

The Tyrrhenian Sea island is also home to Mount Stromboli, one of Italy’s four active volcanoes, which is featured repeatedly in the film.

It is thought to be constantly active with modest eruptions and is known to have erupted frequently in the past.

It is sometimes referred to as the Lighthouse of the Mediterranean since several locations on Stromboli and the surrounding waters allow for viewing of the eruptions.

Netherlands, North Holland

North Holland, a province in the northwest of the Netherlands, appears to be where more of “Stromboli” was filmed.

The cast and crew were seen filming a few scenes at the village and seaside resort of Bergen aan Zee on the province’s North Sea coast in January 2022.

North Holland includes a substantial section of polder land that is below sea level and is situated between the North Sea, the Wadden Sea, the IJsselmeer, and the Markermeer.

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