Author: Dreamate Demo

The Days of Knight: Chapter 3

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The Days of Knight: Chapter 3

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The reasons of time

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116

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by Michele Diomà

It felt like a spring day in Rome, even though it was a Saturday morning in February.
It was 2015, and that day I made one of my life’s dreams come true. At dawn, I received a phone call from the co-producer of my debut Narrative Feature, Donald K. Ranvaud. He simply said, ‘Hey. Today’s the day!’ and I understood.
Donald had promised me that one day he would introduce me to the director of The Last Emperor (9 Academy Awards), the artist who, together with cinematographer Vittorio Storaro, had created the masterpiece The Conformist, the Italian director who had managed to make a film with Marlon Brando.
I was a young guy who thought, dreamed, and lived exclusively for Cinema, and that morning I found myself talking for hours with Bernardo Bertolucci.
Pure happiness.
Today, I am thrilled to present to the WILD FILMMAKER community an interview with Valentina Ricciardelli, President of the Foundation dedicated to the great Bernardo Bertolucci.

-)Who is Valentina Ricciardelli?

Who am I? At the moment, I am answering you as the President of the Bernardo Bertolucci Foundation. I am Bernardo’s cousin. My grandmother Ninina Giovanardi was the sister of Ninetta Giovanardi, mother of Bernardo and Giuseppe.

–)When did the idea of creating a Foundation dedicated to Bernardo Bertolucci come about?

The Bernardo Bertolucci Foundation was founded by Clare Peploe, director, screenwriter, and Bernardo’s wife for 40 years. Clare began thinking about a foundation dedicated to him right after BB’s death. Then, unfortunately, she became ill, passed away very quickly, and left me the task of creating it.

-)What are the goals of the Bernardo Bertolucci Foundation?

The purpose of the FBB is to make Bertolucci’s work known to everyone, but especially to new generations, through exhibitions, publications, films, and also to physically preserve his works through conservation restorations. In Parma, we will also open a Bertolucci Museum, which will house the archives of the three Bertoluccis: in addition to Bernardo’s, there will also be the archives of Attilio, BB’s father and a great poet of the 20th century, and those of Giuseppe, BB’s younger brother, also a director and screenwriter.

-)Do you think the global film industry is doing enough today to protect the cultural heritage left to us by Bernardo Bertolucci and which artists and institutions support the Bernardo Bertolucci Foundation?

Bernardo left a significant mark on the history of cinema and is remembered and cited by important contemporary directors, one of whom is Luca Guadagnino, who is currently making a documentary about him in collaboration with the FBB. Guadagnino takes up the mantle of international auteur cinema, both cultured and at the same time popular. BB’s work is protected by many institutions, such as the Cineteca di Bologna, which is digitizing his archive and is part of the scientific committee of the FBB.

There are also other institutions like the Municipality of Parma, which has welcomed the FBB in the filmmaker’s hometown, providing a beautiful temporary headquarters and supporting us in all our activities, as well as the Emilia-Romagna Region. BB’s Parma roots and those of his family are essential for remembering and understanding why it all started in Parma, where BB breathed in and absorbed that unique blend of sophisticated bourgeois culture and agrarian culture tied to the land.

The FBB also has a scientific committee composed of friends and great professionals like Jeremy Thomas, the enlightened producer who, starting with The Last Emperor, stood by Bernardo and remained by his side until the end; Marco Tullio Giordana, Pietro Scalia, and Luca Guadagnino, as I mentioned before.

Also, Valeria Golino, an actress and director who knew Bernardo well and spent time with him, is helping the Foundation a great deal. Likewise, Alberto Barbera, director of the Venice Film Festival, and Vittorio Storaro, with whom Bernardo created unforgettable and fundamental films, along with many others.

-)A memory of Bernardo that you’d like to share with us.

A special memory is linked to a breakfast together at his house in London, on Lansdowne Road, where I had gone as a guest for an English course. He told me that the most important thing in life was not to be afraid, to push beyond the imposed limits, to look at reality from different points of view, and not to take anything for granted. It struck me because I was very young, I think about sixteen, and for the first time, someone spoke to me so naturally about such difficult topics, at 8 in the morning, eating delicious buttered toast. Then there are a thousand other memories, but that philosophical and affectionate tête-à-tête went straight to my heart. And it’s still there.

-)How do you imagine cinema in 100 years?

Cinema in 100 years? I don’t know. Artificial intelligence will change everything. Or maybe not? There will surely be more female directors, more camera operators, more screenwriters, etc. Perhaps, finally, we won’t need to make gender distinctions anymore, since we are all a bit men and a bit women, as BB used to say. And let’s hope that in 100 years, cinema and art in general will free themselves from political correctness, the grave of creativity.

Bernardo Bertolucci Foundation: https://bernardobertolucci.org/?lang=en

-Who is Dario Cangemi?

I have been training with journalism since I was 18 years old. Then my love for cinema made me realize that I didn’t just want to tell the story, but to try to do it. To create, through research and study, my own look. Always with the same curiosity that I had since childhood: the investigation of reality, verism, the condition of the human being.

-What inspired you to become a filmmaker?

When I was eight years old, when my friends were watching cartoons, swapping pokemon, or watching the first disney TV series, I would watch A Clockwork Orange and be fascinated. That uncanny fascination that makes you realize that what you’re seeing is not just a great show, but something you want to be a part of your life. That you want to become your own life. Maybe at that moment I realized that I wanted to tell stories, in its many forms.

-Do you think the film industry today has been damaged by political correctness?

I think so, we see it a lot especially in the genre of Italian comedies produced in the last ten years. I don’t always think it’s a negative thing, rather it’s negative the production mechanism by which now already upstream, in the pre-development stage, you have to impose limits on yourself. That damage the quality. This, as a viewer, is something I notice less in America. It then depends, of course, on the genre. It’s a very complex issue –What would you change in the world? Everything, or maybe nothing. It is too difficult a question, and like all difficult questions the answers are likely to be trivial or unsatisfactory. I think first and foremost I would change how the younger generation grows up alongside social and how social is damaging the mental health of those under 40.

-If you could ask a question to a great director from the past, who would you like to talk to and what would you ask them?

Today more than ever I would like to converse with Lynch. To even have the privilege of being able to ask him a question. I would probably ask him if it was true what he said when he talked about his way of making films. That his language he didn’t study it too much first, he dreamed about it, and then he tried to put it out there. And so I would ask him, if simply through intuition, vocation, it would be possible to be as brilliant as he was.

-Where do you see the film industry going in the next 100 years?

In my opinion, in the next ten years there will be a big jump back (thankfully) to the past. I see that many young producers like me are realizing that making films means having a need, a necessity. And that this requires integrity and sacrifice. So in principle I am hopeful. And then I believe that new technology, even with artificial intelligence, will be able to do us a lot of good, beyond what some conservatives believe.

Ice Hockey Orphans

BEST ARTHOUSE DOCUMENTARY SHORT & BEST INDIE PRODUCTION COMPANY

The Dinner Party

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Roses are Blind

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NOI Crusaders – 30 anni di football americano in Sardegna

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I’ve Fallen

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Ageless

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Out of State-A Gothic Romance

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Two Fridges

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The Dragonfly Dreaming Project

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Asherah’s Colors

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Fascino d’altri tempi

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Sam and Dukes Big River Adventure

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Walking With God

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Sequoia Spirits

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Vessel – 2024

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The G-Files

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Dogma

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Everland

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Boxed In

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Wave Man

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Revisited – Life is Short

BEST ORIGINAL AUTHOR (Category: International Music Video)

In Search of A P-I-G

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The Second Coming

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In a Whole New Way

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Homeless Street Artist Documentary

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Not Without Gloves

BEST EUROPEAN SHORT FILM, BEST EXPERIMENTAL DIRECTOR OF THE YEAR & BEST SPIRITUAL FILM

The Rorschach Test

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Edgar

BEST INTERNATIONAL DIRECTOR 2025 (Category: Animated Film)

A Perfect Love

BEST ORIGINAL INDIE FILMMAKER & BEST ARTHOUSE EDITING (Category: International Indie Documentary Short)

I am God

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Effata

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Ciccillo

BEST EUROPEAN DRAMA & BEST EUROPEAN ORIGINAL SCREENPLAY

Nossos Caminhos (Our Paths)

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Luck Court

BEST INDIE PRODUCER & BEST ORIGINAL SCREENPLAY (Category: International Comedy)

Princess Zarabanda

BEST ANIMATION 2025 & BEST ARTHOUSE DIRECTOR (Category: Animated Short Film)

The Dead Ringer

BEST ORIGINAL ARTHOUSE WRITER OF THE YEAR (Category: International Feature Script)

Something ain’t right

BEST CAMERA OPERATOR & BEST INDIE ORIGINAL DOCUMENTARY

Is He Cheating?

BEST INTERNATIONAL LGBTQ+ FILM

Riding on Duke’s Train

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Sheldon Mashugana gets Stooged

BEST ARTHOUSE COMEDY

The Waiting Room

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THE BLANKET -Die schwarze Decke

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Revisited – Life is Short

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Remnant

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YOU ARE HERE – a dylan brody project

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Antiquarius

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Giulietta e Romeo?

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The Stones of Rome

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The Pathos of Hamlet

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Planetary Rebellion

BEST EUROPEAN MUSIC VIDEO OF THE YEAR & BEST ARTHOUSE MUSICIAN

Alta California

BEST AMERICAN FEATURE SCRIPT & BEST INDIE WRITER OF THE YEAR

Pirandello’s Wife

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Louie (KR ONE) Gasparro 5POINTZ

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Chateau De Tarot

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Life is Beautiful

BEST SONG OF THE YEAR

Precious the Baby Dragon

BEST INTERNATIONAL BOOK 2025

BLIND FAITH: Moments of Missed Understanding

BEST DIRECTOR, BEST EDITING & BEST CINEMATOGRAPHY (Category: Experimental Film)

Can’t Figure It Out

BEST ORIGINAL PRODUCER & BEST INTERNATIONAL EXPERIMENTAL FILM

Turtle On A Fence Post

BEST SCREENWRITER 2025 (Category: Indie Feature Script)

Running Out Of Time

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Umbra/Eclipse of the moon

BEST EUROPEAN CINEMATOGRAPHER

Flint&Ema

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Enipheres

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Willow’s Journey

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Blooming Sisters

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The Age of the Empath

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Ghost Executioners 2

BEST INDIE SCREENWRITER (Category: Comedy)

NEVERWERE: a Lycan Love Story

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Eye of the Storm

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The White Chronicles: The Beginning? Book One

BEST INTERNATIONAL BOOK/MANUSCRIPT

The Call Center

BEST ORIGINAL PILOT/TV SCRIPT

Fire Flies

BEST AMERICAN ARTHOUSE FEATURE SCRIPT

The Duchess

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Moomtaz Khatoon: A gender fluid queer Muslim

BEST DIRECTOR, BEST CAMERA OPERATOR & BEST ARTHOUSE PRODUCER (Category: Documentary Short)

The Hallmark Couple

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Only in Malibu

BEST INTERNATIONAL INDIE SCREENPLAY OF THE YEAR

 Gold Glory & Nobility

BEST ORIGINAL SCREENWRITER (Category: International Feature Script)

Something ain’t right

BEST INTERNATIONAL DIRECTOR (Category: Documentary)

I Can’t Save You

BEST ARTHOUSE SUPER SHORT FILM 2025

The Days of Knight: Chapter 3

BEST INTERNATIONAL NARRATIVE SHORT, BEST DIRECTOR, BEST CINEMATOGRAPHER & BEST SCREENPLAY SHORT (Category: Narrative Short)

Brothers of Babylon

BEST AMERICAN FEATURE SCRIPT OF THE YEAR

Boombox (The God of THe Dance) – TV Series (pitch deck)

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Prima del giorno dopo

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Lambada The Dance Of Fate

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Canta la gioia

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The Broken Road

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The Priory of Sion

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True Friend

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Cassandra Venice

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Iriso

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The Assassin’s Apprentice 2: Silbadores of the Canary Islands

BEST AMERICAN NARRATIVE SHORT 2025, BEST SCREENPLAY SHORT, BEST CAST & BEST ARTHOUSE FILMMAKER

Routine

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When the Withered Leaf Awakens

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Destination Marfa

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Doctor Hyphoteses

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Katabasis

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Riding on Duke’s Train

BEST VIDEO POETRY 2025 & BEST SPIRITUAL SHORT FILM 2025

Omnipotent Resolution

BEST MUSICAL, BEST INTERNATIONAL DANCE FILM & BEST CHOREOGRAPHY

Monument to Love

BEST EDITING & BEST INTERNATIONAL DOCUMENTARY FEATURE

Dragul and Forbes

BEST INDIE FEATURE SCRIPT

Drowning

BEST MUSICIAN & BEST SONG OF THE YEAR

The way of Mizoguchi

BEST ARTHOUSE FILMMAKER, BEST EUOPEAN PRODUCER & BEST ORIGINAL DOCUMENTARY

Static

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The Hourglass

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Mind Over Matter

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Ye Ole Glorya

BEST INTERNATIONAL COMEDY & BEST ARTHOUSE PRODUCER

Big Momma Earth

BEST ARTHOUSE FILMMAKER & BEST SCRIPT (Category: Comedy)

Over Exposed

BEST COMEDY 2025

Thankful

BEST WRITER 2025 (Category: Feature Script)

Dojo

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The Demon

BEST INTERNATIONAL YOUNG ACTOR OF THE YEAR

2020: life and death of a virus

BEST FILMMAKER & BEST EDITING (Category: International Experimental Film)

Amen-Amen-Amen: A Story of Our Times

BEST HUMAN RIGHTS FILM & BEST INTERNATIONAL INDIE DOCUMENTARY FEATURE

Lifes Mapped Out

BEST INDIE FILMMAKER

Mashuga Wedding  and Sheldon’s Jewish Christmas

BEST AMERICAN COMEDY & BEST EDITING

L’Amour est temps de reflets

BEST INSPIRATIONAL FILM & BEST EUROPEAN SHORT FILM 2025

Curbside Service

BEST ARTHOUSE WRITER (Category: Indie Feature Script)

-) Who is Gianluca Matarrese?

I’m an Italian filmmaker with a passion for blending reality and fiction. My work often explores personal and collective histories, using humor and drama to dissect human contradictions. I was born in Italy, shaped by France, and my films navigate the tensions between intimacy and society, identity and performance.

-) How did the documentary GEN_ come to life?

GEN_ wasn’t initially my idea. I was invited into this world by Donatella Della Ratta, the co-author of the film and a professor of anthropology and media studies at John Cabot University in Rome. She was working on a book about the social history and political economy of hormones in in vitro fertilisation and gender assignment treatment. During her research, her gynecologist suggested she meet Dr. Bini in Milan, and she asked me to come along, knowing my interest in these themes. She had a hunch there might be a film in it. I brought my camera, as I often do in the early stages of a project, both for character studies and financing applications. But from that very first morning with Dr. Bini and his patients, it was clear, the film was already there, unfolding in front of us.

-) What would you change about the world?

I’d change the way we relate to care both how we give it and how we receive it. We live in a world that values individual success over collective well-being, and I think that’s a mistake. Whether it’s healthcare, relationships, or storytelling, I believe in the power of care as something that should be central, not secondary. If we restructured society around care instead of competition, we’d all be better off.

-) How do you imagine cinema in 100 years?

I imagine a cinema that has completely freed itself from traditional formats, where storytelling is more immersive and interactive, but without losing its emotional core. Maybe films will be experiences something you step into rather than just watch. But I hope that, despite all the technological advancements, we’ll still crave stories that move us, challenge us, and make us see the world differently. The tools will change, but the need for cinema as a shared human ritual will remain.

Hopefully, it won’t just be an algorithm predicting what we want to see before we even know it. I’d like to believe that, despite AI, VR, and whatever else comes next, people will still gather in a dark room, together, to be surprised. And maybe, finally, we’ll get rid of bad remakes.

-) If you could speak to a great director from the past whom you admire, who would you like to talk to and what would you ask them?

If I could have a conversation with a director from the past, I’d sit down with Billy Wilder. His ability to balance humor and cynicism, elegance and brutality, still amazes me. He had this razor-sharp wit, but underneath it, there was always a deep sense of human fragility. I’d ask him how he managed to walk that fine line, how he knew when to push the comedy and when to let the drama breathe. And I’d love to know what he thinks about today’s cinema: would he still believe in storytelling the way he did, or would he be disillusioned by the industry’s obsession with formulas? Most of all, I’d want to hear him talk not just about film, but about people, because he understood them better than most directors ever have. 

-) WILD FILMMAKER is the leading platform in the world for the dissemination of Indie cinema. What does “being an Indie director” mean to you?

Being an indie director means embracing freedom, but also navigating constraints with creativity. It’s about making films because you have something urgent to say, not because the industry is asking for it. It means working with limited resources but infinite ideas, finding beauty in imperfection, and turning obstacles into narrative strengths. For me, it’s also about intimacy, being close to my subjects, whether real or fictional, and crafting stories that might not fit into conventional boxes. Independence isn’t just about financing; it’s about perspective, about resisting trends and trusting your own way of seeing the world.

By Michele Diomà

I am very happy to announce to the WILD FILMMAKER Community that soon, along with the Fellinian singer Roberta Giallo, I will be a guest of Red Ronnie on his show dedicated to Art without censorship.

I will talk about independent cinema and the artists who invest their own resources because they believe in the value of poetry!

We are the creators of a journey toward the stars!

Throughout his career, Red Ronnie has interviewed the Mavericks who changed the world.

Not only the artists we mentioned in the title, but also the pilot Ayrton Senna,

the American painter William Congdon, his works have been exhibited in the most prestigious contemporary art museums in the world, including the MoMA in New York.

Additionally, Red Ronnie has also interviewed Fidel Castro, who may be detested or admired, but without a doubt, he was a key figure of the last century, rarely granting interviews. In cinema, this feat was only achieved by the unconventional director and Academy Award Winner Oliver Stone.

Following are some images that testify to Red Ronnie’s extraordinary journey:

With drummer Mitch Mitchell and the iconic white Fender guitar that Jimi Hendrix played at Woodstock, which we can see in the 1969 documentary of the same name, to which a young independent filmmaker named Martin Scorsese contributed.

Marianne Faithfull.

Patti Smith.

With my spiritual father, Franco Battiato.


The journey continues…