Venezia 81, Mastandrea presenta ‘Nonostante: “Volevamo raccontare una storia d’amore”
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La pellicola che apre il concorso ‘Orizzonti’ arriverà nelle sale a marzo 2025.
La pellicola che apre il concorso ‘Orizzonti’ arriverà nelle sale a marzo 2025.
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NewsTranscript
00:00So, Valerio, what inspired you to make this film?
00:06Well, look, the desire to tell an emotional story was strong
00:12and the thing that came to us more spontaneously than the emotional adjective was love.
00:20And so we wanted to tell a love story, which is one of the most complicated things to tell
00:25because everyone has experienced one.
00:27There are billions of masterpieces, no, not billions, but many, of masterpieces.
00:34But it is, let's say, the daily bread of the human being,
00:38so like all emotions, like all strong feelings,
00:42like love, hatred, revenge, etc., all great themes of stories to tell.
00:49So it was a choice of this kind.
00:53I mean, let's write a love story, a beautiful love story.
00:56Listen, you said it was a story you had inside you for a long time.
01:01Well, let's say that it's not that I had it inside me just as it came,
01:07but the desire to make an actor's film that also concerned this kind of theme,
01:15I had it inside me.
01:16And the fact that it was built just for me, let's say,
01:19it can be both a limit and an opportunity.
01:22It was a bit of both.
01:23Listen, it's not the first time you explore the theme of death, let's say.
01:28I wanted to understand, what is your relationship with this theme
01:32and how do you see it beyond, given that in the film...
01:35No, let's say it's not the first time.
01:39I think many films talk about death, there is always death,
01:43because if a film talks about life, like ours, I think,
01:49you can't ignore the story of death, which threatens and threatens us.
01:56This is not a film about a limbo, a purgatory, a paradise, a hell.
02:02The context in which we set it is very metaphorical.
02:06The hospital is a metaphor, their condition is metaphorical.
02:11You can also apply the immobility of these characters
02:15to the immobility of the people who live normally,
02:18who never take a step beyond and not even a step back.
02:22They are always there in their lives.
02:24On time, at home, at work, or not at work,
02:27but they are there and they are afraid to explore new paths.
02:31And very often love, the courage to go and see, gives it to you.
02:38If you can embrace it, put it into practice.
02:41Listen, you come from this last year, from the film of Cortellesi,
02:45in which we saw you play an opposite role, not to say a bad one.
02:51In this film, however, you also explore the fragility of man.
02:56So I wanted to understand how...
02:59The beauty of this job is that you can do everything, it's not true.
03:05You can do many different things.
03:08Some better, some less.
03:13But yes, it was a year in which, also from the film of Paolamo,
03:17not as an actor, but also as a neo-director,
03:21I learned a lot, because that is a film that,
03:24as it has come to people,
03:27teaches how you have to be simple in dealing with huge themes,
03:32without giving up the originality of some choices you can make.
03:36So it was a great school.
03:38But in this context I was thinking how important it is to explore
03:42also the theme of the fragility of man.
03:44This year we talked about something else, obviously,
03:47not the fragility of man as a genre.
03:50I believe that as long as fragility is treated as a defect and not as virtue,
03:57the man will always have the codes to attack himself,
04:05which are those of strength, virility, total machismo.
04:10Instead, fragility, in my opinion, vulnerability,
04:13here we were talking about vulnerability before,
04:16is a value too, especially if you get through things
04:20that lead you to another part, maybe a better part of you.
04:27Is there another theme you would like to explore with a film?
04:33Let's hope so, because I like being a director,
04:37even if it is complicated.
04:40Yes, yes, there are.
04:42But I think the themes are always the same,
04:45not mine, but everyone's.
04:48Because when man speaks and tells stories,
04:52they are always the same.
04:54But you have to use the medium to tell in a different way.
04:59How do you see the future of Italian cinema in the international context?
05:04I would hope to see it more outside the country,
05:07so that if we can export not only the great actors we have,
05:13but also the great novelties we have,
05:16I'm talking about directors, young directors,
05:20if we export more, we protect ourselves better at home,
05:24from a series of market logics.
05:27Listen, many films, even those in competition,
05:30like the last one, in competition,
05:32but also those by Cortese Lesi,
05:34talk about the past.
05:37In your opinion, the present has little to tell?
05:41No.
05:43I think that cinema is a master in this,
05:47you can talk about the present with more strength
05:51if you take it from behind, or maybe even from the front.
05:56Then to tell the present in itself is very complicated,
06:00because you have almost a separation from the imaginary you live in.
06:05But there are directors,
06:08there are those who can do it very well.