/ INTERVIEWS

“It’s a beautiful signal to see Valeria Golino presenting her Euphoria in Cannes at Un Certain Regard, a section dedicated to different and experimental gazes. Valeria has a poetic vision of life, you can tell it from her pictures and drawings. In the film, which I haven’t yet seen, I have a very small role, but I did it with all my heart after being part of her directing debut, Honey, a film that opened new perspectives on my work as an actress.” These words are by Jasmine Trinca who, after the Best Actress Prize won in Cannes last year for her role in Lucky, is at the European Film Festival in Lecce to receive the Golden Olive for Lifetime Achievement.

Besides Golino, Alice Rohrwacher will be in Cannes as well with her Happy as Lazzaro. This marks a significant presence of Italian female directors.
I hope this could mark a trend reversal, so that the world could be represented in a different and more complex way. In the Berlin competition too, there was a young female director, Laura Bispuri. It’s also a generational change, because we can’t only live of big masters, although they’ve been important to us and the whole world. The number of women in film schools is not small, butthe 87% of the released films are by men. Let’s give these young female filmmakers a bigger chance in festivals.

Have you ever thought of directing a film?
I don’t think I’d be capable. Still, I keep asking this question to all the people I work with. If one day I manage to put this fear aside, I’d like to see a story through my eyes, to show my own gaze. After a few uncertainties at the beginning, then I’m really enjoying being an actress. So now I think that I could find something that has more to do with writing and a more personal vision. 

We know about two upcoming films of yours.
Unfortunately I won’t be in Red Snake, a film by French journalist and intellectual Caroline Fourest about Kurdish female fighters. Moreover, Cannes will present another film on the same subject directed by a woman. As for The Man Who Saved Paris, the producer looks very enthusiastic and keeps writing me every week about this film with Stanley Tucci and Kristin Scott Thomas to be set in Paris. Let’s see…

We’ll see you soon in Alessio Cremonini’s On My Skin, a film about the Stefano Cucchi case.
I’ve a small role, that of Ilaria Cucchi, Stefano’s sister. Here, like in Piano, solo, I had to relate to a real person, someone who is essential for me to confront with.  I was not interested in knowing her just for the sake of ‘copying’ her, but because I’ve been entrusted a character who exists in the real life.

18 years after your debut with The Son’s Room, are you satisfied with you career?
I’m happy I embodied a certain idea of a complex femininity, one that was different in every film, like in Lucky or Honey. Unfortunately in Italy actors are often caged within certain trends and categories, while they should be a multifaceted mask that transforms itself. In my life I’m very awkward and messy, but this aspect of mine is rarely investigated on screen.

Which are the next initiatives of your group of actresses, female directors and workers of the film industry?
During our meeting at the Quirinale, we gave President Mattarella a letter with concrete proposals inspired by the American Time’s Up movement, but also by the French activists, conveying an idea of equal representation  not only in the film industry. We think of some form of broadened assembly, also involving the other sectors. The Cannes Film Festival will host a meeting with our French and American colleagues in order to create a sort of federation based on concrete proposals: equal gender representation by 2020, an ethical code for the work environments, time extension to report sexual harassments. In Italy it looks more complicated to create a fund for the legal protection of girls in need.
 

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