Dani Gondim is a daughter, a sister, a wife, an actress. I would say I am absolutely everyone I love, with an extra touch of boldness and maybe a little bit of madness. If I had to describe myself in one word, it would be “artist.” And for me, being an artist is not simply what I do; it’s what exists within me. Everything I do, everything I live, and the way I feel reflects this artistic essence.
-Do you remember the exact moment you fell in love with cinema?
I don’t remember a specific moment when I fell in love with cinema. I think cinema and the arts have always been present in my life – both as entertainment and as a source of learning. Since I was a child, art, theater, painting, reading, and writing have saved me from the frustration of not feeling understood by the “real world,” by traditional school. Cinema was one of the places where I found myself and understood my ability to be and to create. So, maybe it wasn’t a moment of “falling in love,” but rather an understanding that art saved my existence.
-Which actor inspires you the most?
The actress who inspires me the most is Marjorie Estiano. I find her brilliant, strong, and powerful. Every time she’s acting, I can feel her soul pulsing, just like the character’s. She lives the moment so truthfully that I deeply connect with her performance. If one day I could be just a strand of her hair, it would already be incredible.
–What do you dislike about the world and what would you change?
What bothers me the most about the world – or, more specifically, our Western system – is the idea that everything is buyable or payable. This leads to so many wonderful things going unseen or unheard simply because there aren’t financial resources to produce or promote them. If I could change something, I would love for all beings in the world to be free and happy. There’s a phrase in meditation practice that says “Namah Samastha Sukhino Bhavantu,” which means may all beings in the world be free and happy. When basic needs are not met, people can’t be truly free. And if I could, I would change that.
-How do you imagine cinema in 100 years?
Wow, I’d never thought about that before! I think that while artificial intelligence – which has a lot of “artificial” and little “intelligence” – is taking over many spaces and markets, I also see so much good, visceral art with soul and body being created and recognized. I imagine that in 100 years we’ll see this duality: an explosion of magnificent films, with editing becoming more accessible and effects that were once unimaginable, but also a return to a more raw, stripped- down, “roots” style of cinema, as a counterbalance to all this technology. I think this coexistence will be fascinating.
-What is your impression of WILD FILMMAKER?
I see WILD FILMMAKER and Michele Diomà as disruptive forces. To me, they represent a fight with the system, but from the inside out – embracing the system while also questioning and resisting it. It’s a way to keep independent cinema alive, with space, voice, and strength. And that’s exactly what I want to be part of.
First of all honored and grateful for this recognition to Planetary Rebellion thanks to 8 & Halfilm Awards and all the Staff and the Cannes 2025 Special Event jury. I take this opportunity to write this love letter for my project. Why did I decide to create this project? A strong intuition, for my eyes and for my heart, this historical period represents a crucial passage for the entire planet and for all humanity. I wanted to consecrate this intuition with a work that could represent the strength of this vision. How much of my soul….? This work has its own soul that has used me to reach its ever-expanding form. With whom I wish… With the greatest number of souls who recognize this frequency, with the greatest number of souls willing to welcome who enter into resonance with these frequencies. This project is dedicated to all forms of life visible and invisible.
It is of great importance to critically examine and question contemporary norms surrounding what is considered ‘normal.’ How do we construct our understanding of individuals with psychiatric diagnoses, and what values shape these perceptions? The inspiration for the film was drawn from the Rorschach test, which, through its symbolism, opens a pathway into the subconscious. Perhaps the answer lies not in the image itself, but in the viewer’s interpretation? I am stirred by an unrelenting call to unravel the threads of what society deems “normal.” How do we truly see those whose minds carry the silent weight of a diagnosis? The Rorschach test, with its kaleidoscopic inkblots, is both a canvas and a cipher—a psychological mirror that unveils the unseen contours of the soul. It inspired this film, a vessel to probe the shadowed depths of the subconscious, where truths flicker like half- remembered dreams. Perhaps the answers lie not in the ink, but in the beholder’s gaze, forever shaping the formless?
How much of my soul is in this project?
My soul is a pilgrim in the realm of humanistic inquiry, enthralled by the intricate patterns of human thought and emotion. The Rorschach test, an artistry of ambiguity, weaves its enigmatic forms into my very being. To explore humanity’s myriad hues—its joys, shadows, and silent rhythms—is a hymn that echoes ceaselessly within the chambers of my heart.
Who do I wish to share this project with?
Every soul, in my eyes, is a star of equal brilliance. This film, born from the Rorschach’s elusive dance of ink, seeks to dissolve the boundaries of “normal” and invite a deeper seeing. I call to those with the courage to face its shifting forms, hoping they will behold a more radiant, prismatic vision of humanity—a tapestry woven from empathy, wonder, and the artistry of the human spirit.
To whom do I dedicate this project?
The Rorschach Test is a poem etched in ink and shadow, a psychological voyage and an artistic reverie. Its fluid forms, both haunting and beautiful, serve as a symbolic key to the subconscious—a realm where dreams, fears, and unspoken truths entwine. To gaze into the Rorschach is to confront the self in its rawest form, to dance with the mysteries of the mind’s uncharted wilderness. This film is dedicated to all who dare to embrace this journey, to those who seek the sublime artistry and hidden wisdom within the labyrinth of the human psyche.
Not Without Gloves by Lena Mattsson
Why did I decide to create this project?
During the COVID-19 pandemic, I was engaged in an extensive curatorial project exploring the artistic landscape of the 1990s, which was abruptly halted due to global circumstances. This film emerged from a state of ennui and a profound longing for the landscapes of my youth—those austere, windswept terrains that have indelibly shaped my identity as both an individual and an artist. The film Not Without Gloves illuminates the collective identity forged through our shared experiences and memories of the landscapes from which we originate, which, in this instance, resonate deeply with my own personal history. The film problematizes the romanticized perception of nature through a series of distortions, reinterpretations, and critical reflections on the authenticity of place. Rather than offering a straightforward depiction, it invites viewers into an enchanted, otherworldly space. Through a poetic lens, the work engages with the socio-historical context of the COVID-19 pandemic and the pressing environmental transformations of our era.
How much of my soul is in this project?
The entirety of my innermost being and creative essence has informed the aesthetic and metaphorical framework of the film. Raised by the sea, amidst islands of red granite, I have always held this magical environment in reverence, even as I have resided in an urban setting for many years. This coastal landscape, a recurring motif in my oeuvre, serves as the backdrop for many of my most recognized works.
Who do I wish to share this project with?
To all who dare to gaze with open hearts, embracing the beauty of the unfamiliar, the courage of the different.
To whom do I dedicate this project?
To the departed, whose whispers linger in the wind. To the living, whose breath weaves life’s eternal dance To the fearless, who fling wide the gates to the uncharted, and step into its mystery.
The Priory of Sion and the treasure of Abbey Sauniere of Rennes the Castle in France published by Edilivre Editions of Florence Cazebon-Taveau .
Why did I decide to create this Project ? I thought that I had nothing more to say after six historical books and one mediumistic book about the mystery of treasure of Rennes the Castle . And then I wanted all my historical research and discoveries to come to life in a grand scenario under the fingers of my feminine pen by penetrating the souls of my characters through my medium ship. To penetrate also the soul of the tormented Abbey Sauniere who asked me to absolve him or the will of Christ that Mary Magdalene be the first female apostle .
How much of my soul is in this project ? Amplify of this life , of this music from heaven in universal symphony on my subject and my project . Surrender to Christ in this reading of heaven and the eternity, of infinity that pours down in extreme unction on my person, my roots and my screenplay. To take me to other shores, the faces of the whole world, of the cosmos full of the abundance of signs and divine parables in this vein of infinity where the creator has left his mark all possible and multiple choices of this freedom to the sweet accents of love and consent . It is eternity that opens before me to infinity on other doors , those of the sun, those of paradise filled with this prescience who is God. OH! Grail! OH! My greatness, my sublime flame ! When in my script about the treasure of Abbey Sauniere, I make you meet the Menorah on the tomb of Mary Magdalene , I dare to believe in this seventh Plan , God’s plan in the presence of this cup and in the menorah long before our own origins.
Who do I wish to share this project with ? To Ridley Scott for his movie” Kingdom of Heaven “ because in my script Templars occupy an important place . They are the ones who bring the Grail back from Jerusalem . Templars in the pure white light of the moon , lovers of mystery , of the wheel of change , of destiny finally revealed and of this faith in Christ by the singing and exuberant voice of Mary Magdalene that they venerate.
To whom do I dedicate this project ? To Mary Magdalene of course ! You are a pillar Mary, a pillar of the foundation of the New Jerusalem, so I name Rennes the Castle in this way. A pillar of the Temple, a friend, a spiritual path where humility becomes wisdom and depth. I touch your soul Mary Magdalene. Sacred waters of heaven, I awaken in you. She is the wind, this powerful of God, guide in the message of life. New blood for a new deal !
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Because something sacred had been erased. A name. A presence. A truth.
I didn’t set out to tell a story — I set out to restore one. To bring Asherah back into the light. To let the feminine divine rise, not as a myth or metaphor, but as a living force.
This project began as a whisper from somewhere ancient — now it speaks with thunder.
How much of my soul is in this project?
All of it.
The child who searched for meaning. The seeker who wrestled with silence. The creator who dared to remember what the world forgot.
Every scene, every symbol, every heartbeat in Asherah’s story is a thread of my own — braided with memory, myth, and longing.
This isn’t just storytelling. This is soulwork.
Who do I wish to share this project with?
With anyone who has ever felt silenced. With the ones who carry something ancient in their chest but don’t yet have a name for it. With the orphans of story, faith, and origin. With the dreamers who believe that cinema can still awaken the sacred.
And with those who are tired of watching goddesses burn quietly in the margins.
To whom do I dedicate this project?
To the women who were written out. To the lovers who remembered them. To the daughters still waiting to be seen. And to the divine — feminine, fierce, and forgotten — who is finally coming home.
“Can’t Figure It Out” was the first of a series of short experimental films that deal with the topics of misunderstanding and misinformation and the flawed perspectives and decision-making that result from the interaction of these two elements. We live in an age of incomplete information and misinformation, which rather than feeding better understandings of everyday situations of personal, local, national and/or international interest, inevitably often lead to contagious and potentially perilous interpretations that threaten our well-being on multiple levels. I believe that we must search for ways of increasing awareness of the dangers inherent in this situation and seek out means of helping people realize the fundamental importance of informed understanding to our evaluations and subsequent acts. I hope that “Can’t Figure It Out” can make a small contribution to raising awareness of the perils of the current situation.
How much of my soul is in this project?
100%! I believe that misunderstanding due to ignorance (whether due to inadequate accurate information or intentionally created misinformation) is a major cause of conflict and polarization in contemporary society. In many cases such confrontations promote growing inequality and intolerance leading inevitably to prejudicial actions devoid of justification on any level.
Who do I wish to share this project with?
I would like to share the project with the general public as well as with filmmaking professionals. I would like to see experimental works (both long and short pieces) occupy a more prominent place in the filmmaking industry and be made more accessible to the general public.
To whom do I dedicate this project?
I dedicate this work to two groups:
those courageous professional journalists that strive to present facts and informed analyses of evolving situations and events on local, national and international levels. Quality independent journalism helps make distorted rewritings of history more difficult to promote.
all those people in every walk of daily life who take the time to strive for informed understanding of what is going on around them as well as in far-away places. This requires concentrated effort and dedication that is all too rare in contemporary societies in which the majority of persons eagerly embrace the most easily accessible sources of information without any consideration for the need to verify the source and true nature of such information. Rational, relevant action to face challenges of any sort or scale is only possible in the presence of informed understanding.
It’s very hard to talk about oneself—telling stories is easier. I was born and live in Abruzzo, which could be described as the wild side of Italy. Since I was a child, I’ve been drawn to mysteries and the magical side of things. I feel a strong connection to nature and the universe, always in search of the eternal, the infinite—things that time cannot corrupt or erode. And in cinema, I found the perfect playmate.
After earning a degree in Communication, I enrolled in an acting course, where I met several people, including the ideal lead actor for the story I wanted to tell. That’s how Midnight Green (Verde di mezzanotte, 2014) was born—a thriller set entirely in my homeland, with a budget of just 500 euros. I started with a feature film without ever having done anything before. I took on writing, directing, editing, and more. The journey of Midnight Green lasted two and a half years, from script to post-production, and it was an incredible satisfaction to see the film projected on the big screen.
Afterward, I attended two film schools—one in Abruzzo and the other in Rome, Sentieri Selvaggi—where I earned two Master’s degrees in Screenwriting and Directing. During this time, I made several short films and documentaries, leading up to AVIO – Absence of Vitality in the Intact Organism (2022), a sci-fi short set in caves, and Flashes of Light (Bagliori, 2024). In my work, I focus mainly on writing, directing, and editing. Over the past two years, both AVIO and Bagliori have received numerous selections and awards.
Currently, I have several projects in the works, including a thriller/horror feature film.
– Do you remember the exact moment you fell in love with cinema?
I’ve been interested in films since I was a child, captivated by their charm and immersing myself in the stories, becoming the characters who carried them forward. At age 5, in 1993, I went to see Jurassic Park in the theater, and I was blown away. It was so real and at the same time so fantastical that it transported me to another level. What struck me most was the intense fear I felt—but that fear was also enjoyable.
From then on, I watched every adventure, teen horror, and fantasy film I could find. Steven Spielberg gently took me by the hand and immersed me in the stuff of dreams. Another director who achieved that for me was Robert Zemeckis—especially with Back to the Future and Cast Away, which I was lucky enough to see in theaters at age 12. That’s when I understood the importance of time—physical, emotional, and cinematic.
That said, I’m an omnivorous viewer: I don’t care much about what a film is about, as long as it can passionately transport me into the story.
– Tell us about your project Flashes of Light (Bagliori).
Bagliori is a very special project for me. It comes from an image I had several years ago: I was in Campo Imperatore, Abruzzo, with two of my friends. We were driving along the road, and at one point, they wanted to stop and take pictures of the mountains. I felt drawn to something, so I started walking toward the mountain, off-trail. I found myself going over a series of grassy hills, one after another. Eventually, I turned back toward the road—and I could no longer see my friends. I wasn’t far, but I was completely surrounded by nature. In that moment, I imagined living there among the hills, with common objects—phone, furniture, bed—within reach. That image gave me a deep sense of peace.
Last year, I discovered a short film grant for works shot in the Gran Sasso area, so I dusted off that image and turned it into a script.
Federica, the protagonist, is a young woman with a troubled past who wants to return to her hometown. She carries a secret—and more.
Bagliori aims to dig into the viewer’s soul and take them back to the origins of their life, where it all began. The past can be painful, but also beautiful. Our greatest desires and expectations lie dormant in memories—they are the roots of our present and should be nurtured as such. Traveling through the past is difficult, but sometimes it’s necessary in order to be reborn and lay the foundations for a better future. “Bagliori” is something we carry within us from birth and throughout our entire life — something deep that, despite distance and time, returns cyclically.
– Which Director inspires you the most?
A few days before writing the screenplay for Bagliori, I went to the cinema to watch All of Us Strangers by Andrew Haigh. I was blown away by its delicacy and the connection between man and the universe. So, during the writing phase, I was deeply influenced by the sensations that film gave me, and I promised myself that if I could give the audience even a thousandth of what All of Us Strangers gave me, I would consider myself a winner.
If we’re talking about directors in general, it’s very hard to choose, because I’ve had many revelations with filmmakers who are quite different from one another. One of them, on whom I wrote my thesis, is John Carpenter. He perfectly embodies my idea of a director: a creator of original stories, visionary staging, always going against the system. Each of his films becomes a cult classic. He’s an explorer of genres, involved in everything from pre-production to post-production. Moreover, his films have a quality that I consider essential: you can rewatch them endlessly without getting tired, finding a deeper meaning each time. As soon as you finish one of his films, you want to rewind the tape and watch it again immediately. A true legend.
– What do you dislike about the world and what would you change?
What I definitely dislike about this world is the lack of kindness and respect for others. I increasingly notice that everyone is focused on their own personal gain and little world rather than the common good. Being rich doesn’t mean you can do whatever you want, because we are guests on this Earth and we should ask and give thanks instead of looting and destroying. We take for granted what we have, but it’s not guaranteed. We all walk on the same ground and have the same rights.
In this climate of hate, of desperately trying to appear as something we’re not, of discrimination toward those who are different, I believe the most important thing today is education. That’s why I would change its place in society, putting it at the center of everything and letting everything else branch out from it. I believe teachers today bear great responsibility for the new generations and unfortunately have to carry the weight of what others have failed to do for them.
– How do you imagine cinema in 100 years?
Cinema is still very young despite having made huge strides. I can’t really imagine where it could be in 100 years. And I’m not talking about technology or CGI, but about what cinema can give us in terms of storytelling. If we compare pre-cinema to today’s cinema, it feels like millennia have passed. Language evolves, society changes, new issues arise. But the one thing that unites all of cinema’s history is the creation of a seed that can make the audience feel — be it fear, laughter, or tears.
The only thing we must guard against is homogenization: films must have their own voices, their own colors, their own shapes. Only in this way can Cinema ride through the ages forever.
– What is your impression of WILD FILMMAKER?
To be honest, I didn’t know about you before, but I’ll definitely catch up now because you’re a fantastic magazine. Being able to unite big industry cinema with less visible cinema is an admirable and noteworthy effort. Cinema shouldn’t be limited to what reaches the mainstream audience — we need to seek out these hidden sprouts and bring them into the light. I can only thank you for wanting to interview me and for making me feel part of this great community of people who love Cinema and create it in every way possible.
