00:00You, in the film, associate the freedom of the protagonist with loneliness.
00:06So I ask you if today free women are alone because this freedom still struggles to be accepted?
00:14Yes, it's not really a mathematical equation, but I have a feeling that the search,
00:20in short, the request for the sacred freedom of women is something that in an obtuse way
00:29frightens men, that is, it frightens men in an obtuse way, or some.
00:35And this, sometimes, not always, fortunately, because there are also more enlightened men,
00:41can compromise the beauty and the disinvolvement of how relationships between people should be.
00:51And so it can be an antichamber of loneliness.
00:55Could you, in a certain sense, define Martena as a feminist manifesto?
01:00Well, I don't have these claims, to make a feminist manifesto.
01:05It's a little thought that I coined and that I put in the film.
01:10What is your relationship with time that passes, with the body that changes?
01:14The body, in short, let's say, I love my body.
01:20My signs, of course, suffer a bit of gravity because they are also big.
01:27So, in short, I've relaxed, etc. But I love them very much.
01:34The anguish for the time that passes is yours, we have also seen it in the great beauty.
01:38The beauty, in part, does not pass through a female character.
01:41Do you feel closer to women?
01:44Me? If I feel closer, in many ways, yes.
01:49I often see many more points in common with women than with men.
01:54So I feel closer.
01:57Sometimes I feel that I can speak better with women.
02:03Some of their desires, concerns, disappointments, also belong to me.
02:13I wonder if you will make films about politics again.
02:18I don't think so.
02:19That of today, whether right-wing or left-wing, would you tell it?
02:23I don't think so, because it's not that I've made films about politics.
02:28I've made films about politicians who, regardless of how you think about it,
02:34regardless of their defects or their merits, were figures who had to do with charisma.
02:40A charisma also dictated by the fact that politics was something else,
02:45that they were also traitors, party systems.
02:49Now politics has changed profoundly.
02:52The idea of charisma has changed a lot, it no longer responds to me.
02:57So I don't see the need to tell a politician, but not just an Italian,
03:02and not just right-wing or left-wing, it doesn't matter.
03:05It's the change of the figure of the politician that no longer concerns me
03:12from a cinematographic point of view.
03:14As a citizen, of course, I must continue to remember.
03:18I'd like to ask you if you're going to close a cycle on Naples,
03:23your vision on Naples, and what other film would you like to investigate?
03:31I certainly don't need to make other films about Naples.
03:35I think two are enough.
03:39In addition to Naples, the city has also been told in detail by other directors and writers.
03:44So the spaces to set foot are a bit finished for me.
03:52What else would I like to tell?
03:54It's something I hope to find out along the way.
03:57Now I don't know, now I'm focused on this film
04:01and I'm focused on the winter lethargy that awaits me.
04:08From the first film to today, has your observation of the world around you changed?
04:15What is the biggest change you've noticed?
04:19No, my approach is always the same.
04:22To keep alive and feed a great curiosity for human beings
04:27and for their weaknesses that have always interested me.
04:33No, I haven't changed my approach.
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