How ‘Vittoria’ Filmmakers Got a Real-Life Couple to Reenact Scenes From Their Life

As a film enthusiast who’s had the privilege of traversing the globe for cinematic gems, I must say that “Vittoria” stands out as a unique and captivating tale. The journey of Casey Kauffman and Alessandro Cassigoli, the directors behind this masterpiece, is as compelling as their films themselves.

The story revolves around a woman yearning deeply to adopt a daughter, titled “Vittoria.” This is the third production from collaborative directors Alessandro Cassigoli and Casey Kauffman. At the Cairo Film Festival, where it’s being screened in the International Competition, Casey Kauffman had an interview with EbMaster.

How did you start out?

For years, my ambition has been to become a photojournalist. I spent time working for Al Jazeera as a solo reporter, known as a one-man-band. My professional partner, Alessandro, was an avid film enthusiast and was based in Berlin, producing documentaries. We had formed a close bond in Florence, where part of my upbringing took place. However, I began to grow weary of television work. There were numerous stories that I yearned to capture, but they lacked the newsworthiness required. Eventually, both Alessandro and I returned to Italy due to the simultaneous deterioration in health of our fathers – an uncanny coincidence.

In our 2018 documentary titled “Butterfly,” we featured Italy’s first female boxer to compete in the Olympics, Irma Testa. She hails from a small town south of Naples. During the making of “Butterfly,” one of the secondary characters in this town was introduced and subsequently became the focus of our 2021 narrative feature, “Californie.” Although it wasn’t technically a documentary, it was ethically complex, featuring direction and a carefully crafted mise en scene. In a similar vein, a secondary character from “Californie” emerged, and we delved into her personal journey, which led to the creation of our film “Vittoria.

So this was your second hybrid documentary?

This production isn’t a hybrid documentary; instead, it’s a scripted movie. The entire plot is crafted around a single family’s story, and it’s purely fictional. There are no genuine events or candid moments captured on camera. Instead, the characters portray their lived experiences.

What happens if the real people can’t act?

In a fortunate turn of events, we had a distinct advantage since we had collaborated with the leading actress in the previous movie, who we admired immensely. However, it wasn’t just her that we needed; her entire family was essential to the story. Marilena, a talented hairdresser, and Gennaro, a skilled carpenter, were integral characters. For years, there was a damaged wooden cupboard in Marilena’s salon that she frequently complained about. This cupboard was part of their real lives, not just a prop for the screen. We decided to film them separately, taking Marilena into one room and Gennaro into another. We explained the scene to each of them and captured it using our iPhones. The results were astonishing. Both performances were natural and compelling, leaving us in awe. It was as if the scenes had been written specifically for them.

How did you use the script?

As a devoted cinephile, I’d like to share an intriguing aspect of a film I recently watched. Marilena and Gennaro didn’t memorize lines or delve into the script. Instead, it was left to us, the viewers, to decipher the movie’s progression from the screenplay. Even the dialogues were penned down, yet they spoke in Neapolitan dialect, a language we, unfortunately, can’t write fluently. Their dialect is rich and thick, adding an authenticity that words on paper could never capture.

Were there any disagreements about your interpretations? Or between them?

During rehearsals, we allowed for some flexibility, as this helped us understand their issues and assess potential solutions. If a scene didn’t resonate with them, it might not align with their general perspective. In such cases, we’d adjust our approach. We were always open to modifying the screenplay based on these rehearsals, as they provided valuable insights into how the actors interpreted the story.

Adoption has become a political football in Italy. Were you consciously making a political film?

I was completely unaware of international adoption until I met this extraordinary woman who acted upon an inexplicable impulse. Her father had passed away and she kept having a recurring dream where he presented her with a little girl. This daughter haunted her thoughts. She defied her family, the system, and wasn’t your typical adoptee as portrayed in the conventional adoption world – not the couple struggling to conceive. Instead, it was an insatiable personal desire that transformed into a warm embrace for another person. If this were a fictional character, it might be suggested to make her more likable. However, she’s a real individual, and we couldn’t change these people to fit preconceived notions of what they should be.

How did they react when they saw the film?

They adored it; they couldn’t hold back their tears. For that carpenter and hairstylist from Naples, attending the Venice Film Festival was a cherished aspiration. Yet, the movie itself was an intense encounter, mirroring the entire event. During some of the more passionate scenes, it seemed as if the camera was giving voice to their long-suppressed sentiments towards one another.

What next?

Here’s another tale set in a town, centered around an individual who travels from France to Naples for work. Interestingly, the cinematic approach could also resonate with specific scenarios within Middle Eastern regions. However, it’s crucial to avoid generalizations; certain national traits seem to align with this style, but not all.

This interview has been edited and condensed for clarity.

2024-11-18 18:47