I was 14 years old when I received my first camera as a birthday gift from my brother, who had emigrated to Italy. From that day on, I started seeing the world through its lens. At that time, while my dream was to make films, most of my peers dreamed of escaping Albania, risking their lives on small boats to reach Italy or other European countries. Witnessing their struggles only strengthened my desire to stay and create something meaningful in my own country.
-When did you realize that cinema would become the protagonist of your life?
I grew up with this idea, as much as I could understand from television. In the village where I was born, there was no cinema. When I started high school, I had to leave my family and move to a larger city. There, I began working at a local TV station. After a few years, I decided to challenge myself further and moved to the capital, Tirana, where I worked in national television. I also pursued my studies in directing at the Academy of Arts. During my time there, I made my first short film, Gjyshja (Grandmother), which turned out to be very successful. From that moment on, my only focus was cinema and taking it to a higher level.
-What inspired the idea behind The Passport?
The Passport is based on a true immigration story that happened in recent years in Albania. I have always wanted to make a film about migration and the struggles of Albanians who left the country illegally, facing extreme difficulties. Coming from a family of emigrants myself, this subject has always been close to my heart. Through this film, I aim to send a message to young people who are still considering leaving Albania illegally. Not only do they put their lives at risk, but unintentionally, they also contribute to the financial growth of human trafficking networks.
-Tell us about the international success of The Passport.
The Passport is currently being screened in major European cities, including London, Rome, Athens, Zurich, Berlin, and Brussels. After Europe, the film will also reach audiences in the United States and Canada. It has been very well received by Albanian audiences, who see their own stories reflected in it, but also by international viewers who have found it compelling and eye-opening. Where does cinema stand today? I believe that cinema, in general, is not experiencing its best days. I think we are currently facing a crisis, as people are moving away from movie theaters. With declining viewership, the entire film industry suffers. Online streaming is taking over and, unfortunately, diminishing the beauty of traditional cinema. It is making people lazier, less willing to go to the theaters, and this is something we feel more and more every day.
-How do you imagine the world of cinema 100 years from now?
With the rise of artificial intelligence, I fear that films will lose their true essence. The magic of cinema that we grew up with and experienced firsthand will be gone, and everything will feel artificial. Unfortunately, I believe that movie theaters will eventually turn into museums. People will abandon them, and they will remain as symbols of the past. Cinema will primarily be consumed on smartphones, stripping it of the authentic experience that once connected audiences to the true art of filmmaking.
The P.R. project is actually a refinement, meaning the completion and natural extension of Risveglio Planetario, a multidisciplinary project that originated in its original form in Italian as a song in the years 2021/22. The current P.R. maintains its song form but in English, and the music video is adapted to the new version. This process involves the art of spirituality, photography, music, cinema, poetry, society, politics (understood as “polis”), philosophy, and the interconnectivity of all things.
The song format, combined with the video, is a strategic way to maintain the lightness and accessibility of concepts that would otherwise be less accessible, if not unattainable, to our contemporary audience. In fact, the song format serves as a true Trojan horse, allowing us to breach the walls of the city of Troy that imprison us within a pre-established reality, otherwise impenetrable. I use the metaphor of the impenetrable walls because it is a fact that we find ourselves in this condition both as individuals and as a society. Obviously, Planetary is in English to honor its planetary mission.
The inspiration for this work came from an intuition and personal sensitivity, from a vision ahead of its time and events. The observation of the acceleration of events at the expense of humanity’s culture, which in my eyes is neither credible nor conceivable, is a sign of weakness in an economic, political, and cultural system at its peak of fragility and obvious decline. This downward trajectory represents, in my view, the prelude to a new era: Risveglio Planetario – Planetary Rebellion. I believe this work will confirm the success of the Italian version.
The work that Wild Filmmaker is doing is and will increasingly be important and strategic for the world of cinema, offering crucial visibility to independent productions that are free from pre-established logics. Thank you, Wild Filmmaker, for your dedication and sensitivity.
-How has your experience on the set of “The Passport” changed you?
A lot. First and foremost, from a self-awareness perspective. A role like that allows you to challenge yourself, confronting many weaknesses and insecurities, but at the same time, it encourages you to trust yourself and dive in with courage, using those same vulnerabilities and insecurities to serve such an intense and delicate role. Throughout this process, working with and feeling the trust of the director Eduart Grishaj has been essential, and he will always have my sincere admiration and deepest gratitude. Furthermore, The Passport allowed me for the first time to connect directly with the hearts of millions of my fellow countrymen around the world, and I must admit it’s a beautiful feeling.
-Tell us about your character in “The Passport.”
Edon is a young man searching for stability in a country that seemingly has little to offer him. He represents an entire generation of the Albanian people. Orphaned by his father from a young age, he is determined to find a better future for himself and his mother, to whom he is deeply connected. He is willing to do anything to escape from a country that doesn’t seem to value or invest in him. He is undoubtedly very courageous and has strong principles, a positive example in many ways.
-You are an international actor, do you think it’s necessary to be an artist who addresses a global audience today?
I can’t say if it’s necessary for everyone, but for me, it undoubtedly is. I think that today, more than ever, it’s very important to reach the broadest and most diverse audience possible. Beyond the opportunity for greater career prospects, it is a necessity of a globalized and multi-ethnic society, striving to convey universally recognized messages through art. Proof of this are the increasingly frequent international productions, which aim to shed light on life stories in tune with a world that has never been so interconnected. Personally, I’ve had the fortune to work more abroad than in Italy, and I must admit that it’s the part of my job I love most, as it allows me to travel and engage with people who seem distant from me, yet I find them so close to my vision of cinema.
-Which actors from the past do you look up to? You remind us a lot of the charm and humanity of the great Marcello Mastroianni.
I’m deeply flattered to be reminded of the charm and humanity of such a global icon as Mastroianni. Being the grandson of a great Albanian actor, Bep Shiroka, who marked an era from the 1950s until the early 2000s, makes me entirely devoted to great actors, especially Italians, who since the post-war period have raised the bar of this profession to levels rarely reached by contemporary colleagues. Two names among many, besides my grandfather’s, are Gian Maria Volontè, for his incredible interpretive flexibility and intensity, and Massimo Troisi, for the authentic and sublime melancholy that characterized his comedy.
-Future projects?
Taking care of my body and mind, staying healthy to be a present father for my son, and to continue doing this rich job, never stopping to dream big. That alone would be a great achievement! More concretely, having the opportunity to work as much as possible to keep improving and becoming a good actor, which is the job of my dreams, and I always feel so lucky when I get the chance to do it. Specifically, I’m currently part of two projects, both in pre-production: Ghost Date, a psychological thriller directed by Erik Bernard, and Nossos Caminhos, directed by Carla di Bonito, well known to the Wildfilmaker community, where I’ll have the honor of portraying the great Formula One driver Elio De Angelis.
The docufilm was born from an idea by Ciro Mattera, the chef of the historic Ristorante Saturnino in Forio, on the island of Ischia, making his debut as a producer. The intention was to tell the story of his late father, who passed away in 2009 and became one of the most significant figures in the local popular culture over time. His life was one of hard work, struggles, and sacrifices. Along with his beloved wife, he managed to raise 12 children, dedicating himself to farming and livestock, surviving at first thanks to the ancient practice of bartering. A devout follower of Saint Lucia, the man had miraculously recovered from colon cancer. In the 1980s, he had created a festival dedicated to the martyr from Syracuse, where faith and the desire for self-representation intertwined with the dream of community-building and the breaking down of social barriers. Naturally, this story deeply moved me, and I wanted to make a film that would describe the survival practices of ancient rural culture, which, along with the fishing culture, surely represented the beating heart of local identity not only on the island of Ischia. The result is a poetic and passionate portrait of the island from the mid-20th century, still able to survive through barter and deeply connected to the rhythms of the natural world. It was a time when the relationship between man and nature was not mediated by symbolic structures that placed humanity in a dominant position over the environment. This theme is particularly relevant today, especially considering the impact of the social world on climate change. The film brings out the humanity and creativity of this unique character, as well as his ability to strongly influence the social fabric and dream of a better world, turning his memorable gatherings into extraordinary moments of self-analysis and cross-class unity.
-You are a director who has helmed several successful Independent Narrative Features. What are the main differences between shooting a documentary and a fiction film with actors?
Making a fiction feature film requires meticulous work both during the writing process and on set, aimed at aligning the original idea with the final product as closely as possible. A documentary, on the other hand, although it starts with in-depth research of archival materials and a precise orchestration of the elements involved – and thus still requires careful writing – opens up, in a way, to a gradual rediscovery of the world being narrated. This leads to a particular form of “improvisation,” which also stems from the thrill of giving the voice to real protagonists.
-Who were the collaborators who supported you the most in the making of “The Flame of Santa Lucia”?
I must thank Luca Ricci from Aenaria Recordings, with whom I also made the feature film Prima del giorno dopo, for the wonderful cinematography that captured always-new nuances in the folds of the story, as well as for his excellent work in editing and audio/video post-production. I also thank Veronica Repole, the production secretary, for her passionate, constant, and invaluable collaboration.
-What do you expect from your new project “The Flame of Santa Lucia”?
I believe this work has a universal appeal, so I hope it will have a great journey through festivals and perhaps even on streaming platforms. I’m convinced that it can revive in the hearts of many – those attracted by the authenticity of ancient Mediterranean culture or the many Italians who emigrated abroad – memories of a time that seems only seemingly past. At the same time, it can also communicate to those who stubbornly embrace digital civilization the need to preserve the memory of what we once were.
-Do you think WILD FILMMAKER is succeeding in its mission to revolutionize cinema?
Absolutely. Wild Filmmaker today represents, at least in Italy, the only beacon attempting to guide filmmakers beyond the darkness of the mediocrity of the national production system. Congratulations to you, and never slow down. I will always run by your side.
I am a classical pianist, trained at the Conservatory of Bari, my hometown. After graduating, I began performing in traditional classical concerts, playing as a mere pianist. However, that model felt cold and distant to me, as if a glass wall separated the musician from the audience. I felt like a fish in an aquarium—observed, yet isolated. So, I decided to break that barrier, transforming my concerts into interactive experiences where the audience is not just a spectator but an active part of the show. I wanted to create a new way of experiencing classical music, one that is more engaging and authentic. Today, I don’t see myself as just a performer but as 50% of the author (the other half belongs to the composer and their music), bringing music, emotion, and storytelling to the stage. In my performances, I alternate between piano pieces and fascinating anecdotes about composers, using a modern and ironic approach. My goal is to make classical music more accessible, ensuring that the audience doesn’t just listen but fully immerses itself in the world of composition, understanding its context and emotions. I want people to laugh, be moved, and feel that classical music is alive and relevant. I strongly believe in the power of musical dissemination—to break down barriers and help people rediscover this extraordinary art form in a fresh, spontaneous, and engaging way.
-When did you realize that Music would be the protagonist of your life?
My passion for music was born when I was just seven years old. One day, while exploring the house, I found an old keyboard abandoned in a closet. I took it out, turned it on, and started experimenting with it. That was the first step on a journey whose destination I had yet to discover. It took me two years to convince my parents that it wasn’t just a passing enthusiasm. Finally, at the age of nine, I began taking piano lessons, and from that moment on, I never stopped playing. Music became a fundamental part of my life. But perhaps it was cinema that made me realize that my destiny would be music. When I was ten, I watched Amadeus, the masterpiece by Miloš Forman, and I was completely mesmerized. The figure of Mozart, his works, and his life—so romantic yet so tragic—completely enchanted me. That was the moment I knew: I would dedicate my entire life to this wonderful art.
-What inspired the idea for a show dedicated to the collaboration between Nino Rota and Federico Fellini?
It all started by pure chance. The artistic director of the Italian Cultural Institute in Cairo, Maestro Elio Orciuolo, saw a recording of my musical show “Pianosolo” on YouTube and contacted me to perform at a concert in Cairo dedicated to the collaboration between Fellini and Rota. When he told me, I could hardly believe it: it was my first international engagement, and on top of that, for such a prestigious event. I clearly remember the moment I received the call. I was on the roof of the beautiful Cathedral of Siena, and in front of me stretched the entire city: a heavenly panorama that already made me feel like I was in paradise. And now, with such news, that feeling was amplified even more. I was doubly lucky because the topic was familiar to me, even though it had been assigned by others. Since my adolescence, I had been passionate about Fellini’s cinema: I had watched and rewatched all his films, and Nino Rota was a figure I knew very well, not only because I deeply loved his music but also because of the connection to the Conservatory of Bari, where I had studied. Rota had been its director for decades, and many of my teachers had been his students and had known him personally. Through their stories and teachings, I had developed an indirect but profound knowledge of Rota as both a man and an artist. It was from these memories that the show I would soon write was born. From its first performance in Egypt, it was an extraordinary success. Since then, it has traveled all around the world and continues to be the most fortunate of my musical performances. It is a work I am deeply attached to, and it still holds a special place in my heart.
-What would you change about the world?
We live in a world marked by deep selfishness, injustices, wars, climate crises, and inequalities that seem to be growing rather than shrinking. Every day, we witness conflicts that claim innocent lives, people forced to flee their homes, and a planet suffocating under the weight of pollution and indifference. Yet, in the face of all this, the reaction is often distance, habit, and resignation. We lack empathy, we lack sensitivity. I firmly believe that culture can play a fundamental role in this scenario. Culture has the power to shake consciences, to make us look at the world with different eyes. A book, a film, a concert can create cracks in the wall of indifference, sparking questions, reflections, and awareness. Music, in particular, is a universal language: it needs no translation, it speaks directly to the soul. Through it, we can tell stories of pain and hope, of struggle and rebirth; we can present people with emotions they may have never truly felt or understood. It can be a bridge between cultures, a way to unite rather than divide. Now more than ever, we need an education that cultivates sensitivity, that teaches not just knowledge, but the ability to put ourselves in others’ shoes, to feel another’s pain as if it were our own. If culture returns to having a central role in society, if art stops being seen as a luxury and becomes an instrument of awareness and transformation, perhaps we can still hope for a better future. Because a fairer, more peaceful, and more environmentally respectful world is first born in the minds and hearts of people.
-How do you imagine Cinema in 100 years?
I believe cinema is facing the same problem as music: a growing homogenization towards mass-market content, while the great filmmakers who experiment are becoming less and less visible. Artificial intelligence is also changing cinema, producing increasingly industrial content, but I believe this can be an opportunity. AI will eliminate mass-produced products and create more space for authentic creativity. This will stimulate a “competition” between human art and the machine, pushing filmmakers to create more original and profound works, while the audience will increasingly seek the authenticity that only human artists can convey. Times are changing, and we must evolve. The world is becoming more interconnected, and the arts, like everything else, tend to blend together. I think it’s a historical necessity. It’s time to mix the arts and disciplines to create something new, capable of surprising an increasingly bored audience. The success of my format comes precisely from this fusion: classical music, education, cabaret, and theater intertwining in a synergy that resonates. Cinema, always an art that blends various languages, will surely have the ability to reinvent itself once again, as it always has throughout its history, and I believe it will be the art form most capable of adapting to the changes of our times, precisely because of its hybrid and synesthetic nature.
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