-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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Tin Box
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Der Rote Klang
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The Girl Made of Earth and Water
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Darker Realities
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Remnant
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Gold Glory & Nobility
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Only In Malibu
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K Bender (The Bloody Benders)
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We are Rivers
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Hot Afternoons Have Been in Montana
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Am I a painter?/Czy jestem malarzem?
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Thankful
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Mashuga Wedding and Sheldon’s Jewish Christmas
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Katabasis
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A Midsummer Night’s Dream ~ Adapted by Cass Foster
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Omnipotent Resolution
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Eye of the Storm
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The Duchess
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The Assassin’s Apprentice 2: Silbadores of the Canary Islands
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Routine
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Boombox (The God of THe Dance) – TV Series (pitch deck)
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Alta California
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Only You Can Save Her,” pilot teleplay of series THE BOY WHO EARNED HIS MAGIC
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Not Without Gloves
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In a Whole New Way
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The Stones of Rome
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The Pathos of Hamlet
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On My Special Day
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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.
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.
