-How did “The Flame of Santa Lucia” come to life?
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.
