Tell us a bit more about your background and your current work.

I am a screenwriter and film director based in Italy. My first film is called Amanda, and I shot it in Piedmont. For Amanda, I was inspired by classic heroines of children’s stories, especially European ones, such as Pippi Longstocking or Matilda, but also Eloise at the Plaza. I like to put them in completely different situations–in this case, a grown up for example, in her mid twenties. I did the same with Donya, the protagonist of Fremont, but I started with classic romantic heroines in this case. I think there’s always a bit of self in the main characters, but not so much in my case. 

What do you see for the future of the film industry in Italy?

I don’t think that Italian cinema is going through a moment of rebirth, but it is certainly not dying; I believe cinema will never die.

What are the greatest obstacles and satisfactions that you face working in this country?

I love filming in Italy in lesser-known, less traditional, and less traditionally beautiful places, because they are not often depicted in cinema. Italy feels like a visually well-documented country, but the landscapes are extremely varied, with some being quite hidden (as you know!), so you can really recreate any sort of new aesthetic while being realistic at the same time. For my first film, I was looking for places that seemed suspended in time and space; for the film I am prepping now, we are looking for places that seem to be drawn by children. 

What I also appreciate about filming in Italy is the personal and artisanal approach of the people working on set and in other departments. I believe this stems from our history and tradition of auteur cinema. In my opinion it’s a uniquely Italian way that has been preserved over time and we don’t want to change.