“Confidence, a film about the fragile and domineering male”

The suspense remains and you take it home after seeing Confidenza, the film that Daniele Luchetti brings to the cinema from April 24th. A highly esteemed professor with an unspeakable secret, a confidence that puts him in the hands of his lifelong love: Professor Vella is an inspired Elio Germano, alongside him the sometimes androgynous beauty of Federica Rosellini, and Vittoria Puccini. Pilar Fogliati triggers the sentimental mystery. Luchetti speaks to the Question about his long trajectory and the intentions inherent in Starnone’s novel, reread by himself and Francesco Piccolo. “We wanted to tell the story of a domineering male forced with his back against the wall: a figure who would prefer his own end to the end of the aura of respectable image that frames him like a halo. The women here are more mature. This film is an opportunity to reflect , but it is no coincidence that women understand the meaning of history more easily.”

A life in cinema learning and teaching, today Luchetti teaches directing at the Centro Sperimentale di Cinematografia. From the beginning with Moretti to the awards that arrived immediately, with Domani Accadrà, and then the Portaborse which anticipated the Tangentopoli of 1992. Among the many successes were some fetish actors. “I learned over time to direct them: with Elio Germano, for example, you know that what you see in front of the camera will not be a representation but something that you don’t expect and that he creates. In my career I have always liked to compare myself with the various Silvio Orlando, Margherita Buy, Moretti”. Confidenza marks the return to fictional storytelling, after celebrated documentaries such as Codice Carla, dedicated to Fracci, and Raffa, on Carrà. “I like to study those characters I tell and look for revelations from those who know them or have some secret side to tell.”

Taking the globe from the Messaggero’s Question in his hand, Luchetti chooses India for his imaginary journey. “Because it’s a place that I’ve mythologized without ever managing to go there and now I’m a bit afraid of taking a trip there, so I won’t go.” He dedicates the last take to a truly singular film that he is fond of. “Cinderella: in Fregene as a child they took me to the cinema to see cartoons. Every year Cinderella touched me: we got messy with the other children, we were alone in the room. Once, however, we had the courage to go behind the screen: Cinderella seen backwards was a revelation.”

In the question of choice, an answer that also speaks with Confidence. “A film I always see again is Woody Allen’s Annie Hall, a much more relaxed couple relationship, despite everything, than what we tell in Confidence. Rather, I think of Manhattan: a film like the one with Woody who has an affair with a minor it would be unthinkable. Today when we show certain classic films some young people reject the cultural models with which those works are imbued. And this is always a mistake: in front of the Pantheon we feel wonder, but behind that wonder there is always the blood of used enslaved workers. to create works that today we consider majestic. Behind many beautiful things that we admire there is blood shed.”

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