Luigi Pane: “I tell the power of culture in the cinema”

The film “One more world” arrives tonight at the Vittoria cinema, the first work by Luigi Pane (pictured) with Francesco Di Leva, Francesco Ferrante, Denise Capezza, Gigio Morra and the extraordinary participation of Renato Carpentieri, already selected for Alice in town. At the center of the story is Diego (Francesco Ferrante), a Neapolitan boy who has just turned eighteen. He lives in a suburb of Rome, where he moved with his father Franco (Francesco Di Leva) after the loss of his mother. His days go inward and lonely until his father is forced to host a mysterious girl, Tea (Denise Capezza), at their home.

How did the story start?

I wanted to tell a story that takes place in our day, emphasizing how important the strength of culture and knowledge is, especially in difficult times like these we experience, which consist of health, environmental, social and ideal difficulties, where often the desire to confront ourselves in order to imagine ourselves building an ever-better world is lost in the convenient oblivion of social networks, in the reassuring power of consumerism, in the deceptive security of fake news. From these primordial thoughts, the story of Diego was shaped, an eighteen-year-old boy living in a difficult present who finds himself living in a new city and a new neighborhood, which he does not feel his own, but which he manages to transform. thanks to the strength of a cultural heritage that easily grabs, as a chosen one, among the new paths that he nevertheless finds himself walking in his days, also thanks to the help of a rebellious and revolutionary girl, a few years older than him who, due to force majeure, suddenly finds his home invading.

HOW WAS IT CHANGED IN A PANDEMY?

We shot in the summer of 2020, we were among the first sets to restart after the lockdown. We faced the reboot with enthusiasm and joy, we all in the crew felt this movie like a rebirth. Even though there was a little more effort on the set. Vaccines were not present and the film protocols were still very strict. Sometimes I found it a little frustrating to have to communicate with the actors or my closest collaborators about a scene, an emotion, a camera movement with a mask on my face. But we did.

WHAT ARE THE DIFFICULTIES OF A FIRST WORK?

To find his place in the cinematic world of existence. Making a debut film is difficult not only in its initial phase and in the realization phase, that is, finding a producer, obtaining the necessary funds to start filming, finding the right cast, etc., but also and above all to ensure that the movie will be seen when it is finished. Today we live in a moment of great change in film use, streaming is king, space suffers. And if one does not have strong shoulders supported, as in my case, by a large distribution, the effort to give a cinematic film a dignified life is doubled. It helped us a lot to have obtained, after the selective contributions, also the qualification for arthouse films from the Ministry of Culture, which made it possible for us to have a spread in theaters precisely of arthouse around Italy. Which are the theaters with probably the most attentive audience for auteur cinema. We’ve been to Cinemino in Milan, Farnese and Delle Provincie in Rome, Spazio Alfieri in Florence, and the film has always been much appreciated. I hope this can also happen for Vittoria in Naples, where we are about to land. The film has a special relationship to this city, as almost the entire cast consists of Neapolitan actors.

A FIRST CLASS CAST: HOW DID YOU CHOOSE THE ACTORS?

My intention from the writing phase of the film was to build a cast of professional and valuable actors around the character Diego, the main character, to instead look for among the as yet unknown faces. While the script was taking shape, I was already dreaming that my characters had faces like Denise Capezza, Francesco Di Leva, Renato Carpentieri, Gigio Morra. Even today, it hardly seems true to see them in my film, and it is a source of great pride and satisfaction for me. Francesco Ferrante, on the other hand, Diego in fact, was a discovery and a winning bet. We searched a lot among talent agencies, acting academies and theater schools. At first I imagined this character with physical characteristics that were a little different from Francesco’s, but when I saw his audition, present in Rome, something fell inside me, and after some time I called him back to call. back. I had confirmed that Diego was him.

WHAT DO YOU COME WITH AS TRAINING FOR YOUR NEXT WORK, AND WHAT DO YOU WORK FOR?

The awareness that making a film is a damn tiring and difficult job, but which gives incredible feelings and satisfactions. The certainty that a good film is never made alone, but through teamwork, where everyone is fundamental. It takes a lot of heart, passion and courage to cross the great ocean that is from devising an idea to seeing it projected on the big screen. It is important to choose the right travel companions to tackle this crossing. And that’s what I’m always trying to do, even now that I’m working on some ideas that I hope will soon become another film.

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