Tell us about your artistic path.
I am self-taught. I experiment a practice based on the use of minimal and essential tools and focuses on development of creative processes concerning the mix of archive material and autobiographical elements. As far as I’m concerned, now, making films means composing existing fragments and visions during the editing. Each film is then an intuition, the invention of a method to combine and link mismatched materials. To me filmmaking is way of thinking, and aesthetically problematizing images.
Let’s talk about your work in competition at Laceno d’Oro: how did you start? Where did you find the spark?
Rivolta e malinconia was born by chance, as an instinctive reaction to the personal disappointment for a previous project. It is a small film that reflects in a playful but conscious way on the past and on the sense of romance, caught in its specific meaning. A few unforeseen literary “deviations,” which occurred during the researching phase, affected both ideas and editing in an unexpected way. The result is a silent yet enthusiastic declaration of intent. More and more often, I find myself indulging intuitions that go beyond filmmaking.
Movies and festivals are finally coming back to theatres. Do you think that, after the last two years, cinema – from production to distribution and access – has inexorably changed?
I think so. Physical and virtual spaces have already started a conversation, coexisting even during festivals. In this new hybrid and constantly evolving scenario, I hope that theatres will commit to prevent the loss of their identity and to develop an ever-stronger relationship with the public: program curatorship, meetings with authors, reviews, retrospectives; events and meeting opportunities that will allow us to build a strong relationship even with non-professionals.
