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La nostra intervista a Stefano Sollima, regista della serie tv Il mostro, presentata fuori concorso alla 82ª Mostra Internazionale d’Arte Cinematografica di Venezia.

Chiara Guida ha incontrato Sollima al Lido per parlare della nuova serie, dei temi affrontati e del processo creativo dietro a un progetto che unisce cronaca e narrazione audiovisiva.

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Trascrizione
00:00Come did you choose this story?
00:03What makes you tell this story and is it worth telling?
00:07I think it's always the other way around.
00:09It's not the artists or the authors, the directors, the writers who choose the stories,
00:15but the other way around, that is, at a certain point you find the story that finds you.
00:23And this one started, let's say, by chance,
00:26because I started reading a book about the monster of Florence and from that moment I couldn't stop.
00:32I mean I read practically everything that had been written,
00:35then I moved on to the court documents, then to the trial documents, I read everything.
00:42It became a sort of obsession because it seemed like a very powerful story.
00:47I was shocked at the idea that no one had ever told it before and so I said no,
00:52we absolutely have to tell it.
00:53Um, the investigations revolved around the common point that these murders have,
01:00namely the murder weapon.
01:02Did this modus operandi of the investigation also guide you in the creative and writing phase?
01:09No, what we are saying is that the modus operandi was the same and the weapon was the same,
01:14this is something that is evident.
01:16Let's say that the theme that we addressed with Leonardo Fassoli,
01:25while we were trying to figure out how to organize the materials to tell the story of the monster of Florence,
01:31was that of the theses and investigative theories that over the course of 20 years were dozens and dozens and dozens and,
01:37moreover, they contradicted each other.
01:39That is, in every investigative theory there was always a fact that had been left out for convenience,
01:48no, in order to demonstrate the thesis.
01:51So we decided as an initial dogma to tell it without having to give answers,
02:01that is, without having to imagine a solution,
02:04but simply, therefore without embracing a theory,
02:07but embracing them all.
02:08And so we realized that perhaps the only way to do it was not to just tell the story of the investigation,
02:22but to focus on the possible monsters,
02:24because obviously that would have given us the opportunity to tell all the investigative leads and in.
02:32Fact that's the aspect that I appreciated the most about the story,
02:36the fact that it moves like a sort of diagram that then branches out over time.
02:43At times I also had the impression that the interest was also in telling the story of abuse,
02:48the condition of women, the conditions of families,
02:51a whole series of fundamental elements,
02:54no, for Italian culture,
02:56especially that of the provinces, of the countryside.
03:00And how did this aspect guide you in structuring the characters?
03:06But that was precisely the case.
03:11If we had only told the investigative aspect,
03:14we would have basically told the story of investigators looking for a solution by turning it around,
03:19that is, working with suspects,
03:21you could.
03:22It was also an opportunity to tell the story of the social and cultural context of your country,
03:28because at that point you had human beings who had families,
03:31wives and they were still characters who,
03:33although perhaps not the monster of Florence,
03:36were characters who had absolutely monstrous aspects and,
03:39above all,
03:40lived in a social and family context that was also monstrous.
03:43And so this was another one of the,
03:53let's say,
03:54elements that intrigued us about the true story.
03:57Also the possibility of telling how the culture of a country is not so different in reality.
04:02Today we think that this is a story from the 60s and 70s,
04:13we have a sort of reassuring temporal distance,
04:16but today femicide is just as relevant today as it was back then,
04:20with obviously cultural differences,
04:22but in essence I find that it is still an absolutely topical issue today.
04:26Why do you think true crime is so successful?
04:34Why is it so interesting,
04:36so compelling to follow these types of stories?
04:39Because it's a way to metabolize evil, right?
04:43I think it's the modern equivalent of Anderson's fairy tales.
04:48They were incredibly cruel.
04:56There were children abandoned in the woods,
05:02eaten by wolves,
05:03but it was simply a way to educate,
05:05let's say,
05:06to make people live with the idea of evil,
05:08and I think there's a natural attraction,
05:10as well as a desire on the part of all of us to see that evil so isolated,
05:15far from us,
05:16with the features of a brutal serial killer because we would like to not,
05:19like,
05:20imagine that evil is much more banal and much closer to us than we would like.
05:26Amen.
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