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Director's Statement
“...via Fanfulla da Lodi, in the middle of Pigneto, with its low houses and its crumbling walls, was in its gritty grandiosity, its extreme smallness, a poor humble, unknown alley, abandoned under the sun, in a Rome that was not Rome.” Now, in that little street where Pasolini’s Accattone lived, there is an aroma of kebabs and of Cocktails with vodka and cranberries, hippy women bicycle between the Singhalese and the body shops and everything is both very up-to-date and very old. In the vicinity is the Mandrione of JULIET AND THE SPIRITS; the old Quadraro neighbourhood of II FERROVIERE, the Gordiani estate where they shot at Anna Magnani from a truck in ROMA: CITTÀ APERTA; and Torpignattara where the Citti brothers were surrounded. A Rome we no longer see in the cinema. How has it changed? How have we changed? I wanted to make a film about Italy, although in a slightly oblique way, through an encounter between two characters from two irreconcilable worlds, although not that far apart. And when someone dies, a world always comes to an end. Even if he is no one special, it is never insignificant. It means a lot, particularly for the family and for the narrators. Actors are important for all directors, but for those who make films centred on characters, they are the cornerstones of their work. I was also given the gift of exceptional actors: every one of them gave of themselves in a way that was moving and profound.