Interview: Italian Cinema's Edoardo Winspeare
Winspeare Joins New Generation of Italian Filmmakers
Aug 7, 2008
When many people think of Italian cinema, the classics come to mind: De Sica, Fellini, Loren, Mastroianni and even some of the younger established filmmakers such as Roberto Benigni, Nanni Moretti and the late Massimo Troisi.
In the last ten years, a brand new crop of talented, original filmmakers has emerged from Italy, bringing with them a fresh look into their country's modern face. Their films are not like the classics of the 50’s and 60’s. Nor are they stereotypical in their portrayal of Italians. These films of the New Italian Cinema, a phrase that has come to describe them, are melancholic vignettes of contemporary life, with its challenges, social issues and in some cases, teen angst. They are made by writers and directors indifferent to the trends, but loyal to themselves, to their visions and dreams of what a film should be. This new crop of directors has something in common with each other. They make films for their own satisfaction, not for their critics.
Among these new filmmakers is Edoardo Winspeare. Born in Austria, he was raised in Italy, where his Italian origins go back 300 years. His passion for the Southern Pugliese culture is undeniable in his mystical approach to filmmaking. Winspeare is known for using the work of local musicians and casting many non-professional actors.
Art Imitates Life
In all of his films, Pizzicata, Sangue Vivo and Il Miracolo, Winspeare looks to his passion for the regional music of Southern Puglia to tell stories of family, the strength of love and the loss of culture. He blends contemporary Italy with tradition. In a recent interview with Mr. Winspeare at the film festival, Open Roads: New Italian Cinema, at Lincoln Center in New York City. he shed some light on his unique style on filmmaking and his passion for the Italian culture.
Pizzicata, the story of an Italian-American fighter pilot shot down during WWII, is your first fictional film. Were you hesitant about your first film being a period piece?EW: I knew that I would have difficulties making a period drama. However, this choice had more charm and more fascination because 1943 is for me the year that ended a kind of civilization. In 1943, the Americans came while we were under fascism with the German Nazis. With the end of the peasant culture, we had this economical wonder when Italy became an industrial power. I needed a period where everything was clear with all of the contradiction. Women stayed with women, the rich with the rich. It was not good, but it was clear.
There’s always a natural intensity to your characters. Is this a conscience effort?
EW: This is my aim. For me, it’s actually very simple; it’s life, death, and passion. For example (my second film) Sangue Vivo (Live Blood) was about brotherhood, which is very important to me. Two brothers; one represents the old traditions while the other reacts passively to the pain of the loss of this culture, and he takes drugs. One is strong. The other is weak.
Why did you make, “Il Miracolo” (The Miracle)?
EW: I wanted to tell the miracle of love, which is not stand up and walk away, but despite everything let’s make something special. Through this little boy, the father and grandfather realize that they are human beings with dignity and reason. They see that there is a sense in life.
Why was it shot in Taranto, Italy?
E.W: I wanted to show the elements; water, light and fire. Taranto has all of this. It has the fire from the industry, the water from the sea and the light is very important because it is not only physical. “Luce interiore”, the boy gives the internal light to the girl and to his father and grandfather.
Describe Southern Puglia to me.
EW: It’s a place that I like because it is obvious that people have lived there for 7,000 years. The interesting aspect of Southern Puglia is that we don’t have big Roman ruins or cathedrals. It’s the work of poor people. You can see it in the rural landscapes and stone walls. Also, we have the oldest olive trees in the world!
What are your favorite things about Italy in comparison to other cultures?
EW: I know it sounds banal, but one thing is the food. People still cook and eat for an hour and a half, especially in Southern Italy. From 1:30 – 4:30, everybody is in their houses. It is a country of people, not a country of nation. We are all different…Venetian, Florentine, Pugliese. I like this very much. In the dialects, you can hear Greek, Etruscan, Roman, Venetian; and then the beauty, the beautiful women, the beauty of the landscape. If you notice, the word ‘beauty’ or ‘bella’, although not always politically correct is used very much. Che bella donna, che bel passaggio, che bello; we use it very much. We call everybody beautiful!
Edoardo Winspeare just wrapped up his fourth feature film, I Galatuomini.
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