Venezia 81, in 'Anywhere Anytime' la vita invisibile dei rider

adnkronos

(Adnkronos) - Unico film italiano in concorso alla Settimana Internazionale della critica.

Transcript

00:00Loredana Enrico, ADN Kronos.

00:02So, Milad, do you want to tell me how the idea of this film was born?

00:07Yes, absolutely.

00:09Look, in 2018 I got closer to this world of riders,

00:14especially, in my opinion, because of the kind of people it was composed of,

00:19Italians, foreigners and foreigners who were here maybe recently.

00:23Because, you know, it's a job that sometimes people do without documents

00:29or those who don't even know Italian very well, because you can show your phone anyway.

00:34So, it has characteristics that attract a certain part of the society that interested me a lot.

00:40So, I went around the whole state with a Senegalese rider

00:44to make deliveries in the wait, in the streets, in the restaurants.

00:49And so I was very interested,

00:52especially in the fact that this simplicity, an object like the bicycle,

00:57can change people's lives, meaning their survival or not.

01:01So, let's say, this was the beginning of everything.

01:04I was lucky because my father was a great cinephile,

01:09a great lover of Italian cinema, of Rosi, of Sconti,

01:13he always talked about Marcello, Sofia.

01:16So, I was lucky to see the film by De Sica when I was very young,

01:21when I was 7 or 8 years old.

01:23I was very aware of this similarity with De Sica's great masterpiece,

01:32but obviously I never had the intention of doing a remake, an operation, a tribute,

01:38because it's not worth it, I'm not up to it,

01:41and maybe no one is doing a remake of such a great masterpiece.

01:45But it seemed interesting to me to use that excuse to be able to reflect on now,

01:51on how this bicycle, still 80 years later,

01:55can change some people's lives,

01:58maybe another type of vulnerable of this society.

02:01But these dynamics, good or bad, still exist in our streets here.

02:09I'm not a rider, but I have a friend who rides,

02:13so I'm a little bit there.

02:17How are you working on this project?

02:21For the first few days it was difficult,

02:24but little by little we are moving forward.

02:28Milad told me about it earlier.

02:32What are the two points in common with the character you played?

02:39I would say we have the similarity between Isa and Ibra,

02:49because I also moved from Libya to here,

02:54so I know very well what it means to survive.

03:04This film tells the story of a person,

03:13not just one, but I have friends here who don't have the documents,

03:20so they live the same thing as Isa.

03:25For me it's a story to spread to those who don't have a voice.

03:34I was worried about the plausibility of the world,

03:48because when you come from a documentary,

03:51the fear of the fake comes with you.

03:58The story and the approach were very good.

04:02It was an accompaniment from the documentary,

04:05to be with the guys who are not professional actors.

04:09It was immediately clear that you had to bring the troupe

04:15to the opposite side of the road,

04:18because sometimes, not working so much in the cinema of fiction,

04:21one is used to more controlled situations from all points of view.

04:24In the documentary, you have the humility to be invisible,

04:29to fight in the street with the lives of other people,

04:33you know your measures well,

04:36you have the perspective of the real life of the person very close to you,

04:39which gives you this state of humility.

04:42It was important for me to convey the sense that

04:46the cinema troupe has to be part of the street, not the other way around.

04:51I did two years of locations with the bicycle,

04:56with different lights.

04:59Many scenes were written after the cycles of the bicycle,

05:03with precise indications,

05:06also on the direction of things,

05:08only for a specific place,

05:10in the sense that the story came and many things,

05:13compared to what I saw.

05:15I have to tell you that at least 90% of everything in the film

05:19that I saw in the first person, someone told me.

05:22There is a little more attention to light on all these invisible people

05:26that we pass every day,

05:29who also have a four-year struggle for survival

05:34and many personal and social dramas,

05:37but they are still pushed out of the light,

05:43and I hope that this film, for some people who will see it,

05:48will at least give some depth to these figures

05:52that look like just a rider or a guy who takes you on the beach,

05:56but who knows what's behind them.

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