Jonas Carpigano became known for a special kind of naturalism born out of observation – and then portrayed – contemporary Calabrian life, especially the coastal town of Gioia Tauro, known as the ‘Nadrangheta Mob Hotbed’, in a trilogy called the “Mediterranean.” Which won the Grand Prix of Critics Week in 2015, followed by “A Ciambra” and more recently “A chiara.”
The teenager, Chia, in her latest essay, gradually discovers that her close family has something to do with organized crime. The powerful film, in which Carpigano takes his signature-slice-of-life style to a new level, won Best European Film at this year’s Directors Fortnight at the Cannes Film Festival and will soon be released at the New York Film Festival, Neon in the US. Carpigano has spoken with Diversity Starting with the film’s protagonist husband Rotolo about how he got such brilliant performances from his non-professional actors and how he helped to gain more intimacy on the shooting set during the epidemic. Quotes.
So far, it goes without saying that you have created a world. Or rather you’ve captured a Calabrian universe that seems so real, it’s hard to believe it’s working, and booted by non-professionals. How do you do that
Living in Gioia Tauro has made it really easy to blur the boundaries between work and friendship over the years, so to speak. That means the pressure is off. When we’re working together there’s never a feeling like ‘I’m in front of this director’ and ‘I have to act and turn it on.’ They are that [the actors] They will be judged somehow for what they are doing.
I was able to create such a safe place because we knew each other so well before we made the film. We are really jumping into a group of people and wanting to do exactly the same thing. Husband, I know when he was nine years old. And his family, [the Rotolo family] I have known for so long. I first wrote the treatment in 2015. So over the years I’ve been able to ert some things from his real life into the script, so that the character becomes like him. Although obviously he is not part of the mafia family
Tell us how the story originated
The jumping off point for me was that after living in Gioia Tauro for ten years I have seen families where people’s fathers have fled (by law). I have seen families where people have been arrested. I have also seen families where people have been shot at the door [at] As a precaution. I’ve seen these things even though I’ve never been a part of it, obviously. But the biggest impact on me was seeing the impact [the ‘Ndrangheta] In addition to being in it was on the community and the people around it. And it always fascinates me. Thinking about its impact on a family and the people in it is something that hits near home. I have never seen in movies talking about this kind of lifestyle.
Get back in your way as a manager. Do you do workshops? Can you talk to me about your preparations before shooting a scene?
That’s the key: preparation. Preparing them [the actors] The general pressure of what we are going to do and where their character is going and what is going to happen in the film. So they never come in the day and they are told something that is completely new and insane and strange and foreign to them. That never happens. But for the same reason, we never practice to keep it fresh, to keep it spontaneous, and not to let it feel “acting” and we’re never ready to do it before the scene.
They know that the scene exists; But they don’t know exactly how it will unfold. Then when we get there, we explain how it’s being unveiled, and we start shooting it right now. So we are also shooting rehearsals. The camera is gone right now, so it has the power to do it for real.
I heard you shot ‘A Chiara’ during the epidemic. How hard was it?
We started in February 2020 and then in March we closed and we stopped for two months and then we picked it up again in the spring / summer. So we finished in July 2020, but then we had to go back the following winter to get some outdoor stuff that we didn’t get.
The first part of the shooting was very difficult, but we were able to make the most of a difficult and unfortunate situation. When the crew left, we lost a lot of talented people. But in the end I think it actually helped the film because we were able to create this feeling of intimacy. It has become the toughest net crew I have ever worked with.