‘Vermiglio’ Director Maura Delpero on Winning Venice’s Silver Lion for the ‘Most Personal Film You Could Ever Imagine’: ‘It’s Really Magic’

As a seasoned movie connoisseur with a penchant for stories that resonate deeply, I must say Maura Delpero‘s “Vermiglio” is a masterpiece that leaves an indelible mark on your soul. This film, which won the Silver Lion grand jury prize at the Venice Film Festival, is not just a war story; it’s a poignant exploration of life, love, and loss set against the backdrop of an Alpine village at the end of World War II.

For “Vermiglio” director Maura Delpero, receiving the Silver Lion grand jury prize at the Venice Film Festival was the realization of a dream that had originated from another dream.

The story unfolds at the tail end of World War II, situated amidst an Alpine hamlet. A soldier’s appearance stirs up tension among three siblings. “Vermiglio” is Delpero’s subsequent work following “Maternal,” a production set in an Argentinian refuge for pregnant teens overseen by nuns, and has garnered attention on the film festival circuit.

Venice Film Festival’s president, Isabelle Huppert, commended the film “Vermiglio” as a war story that doesn’t actually show war. She explained at a press conference that it’s like having a significant subject hidden off-camera, yet you can glimpse what’s happening through a narrow perspective, peeking through a door’s latch.

After its premiere at Venice, Delpero’s captivating second film is now moving on to Toronto and has been chosen for numerous film festivals worldwide.

Delpero conversed with EbMaster in Venice just prior to Vermiglio winning the Silver Lion, discussing her profoundly private bond with the movie.

How did “Vermiglio” germinate?

This film is incredibly intimate, drawing from my profound grief following my father’s passing. However, it originates not solely from sorrow, but also a joyful experience: a dream. After his demise, I had a dream where he appeared as a young child, much like in an old photograph I knew of him, grinning without teeth. This dream took place in his childhood home nestled in the mountains. So I began to write, initially as a means to cope with my loss. It was essentially a personal exploration, providing solace for me as I wrote about my father and his siblings during their youth, a perspective I had never considered before since I always perceived them as adults when I was a child. The process of writing brought forth many vivid images, eventually leading me to contemplate: “Perhaps this could be a movie.” Initially, I questioned whether it could resonate beyond my personal experiences. Over time, I recognized its potential universality as it delves into critical life events and the struggle to survive during wartime, providing food for one’s family and ensuring their education, ultimately overcoming the hardships of war and the loss of loved ones. This transcends our current space and time.

Beyond the plot, what makes this movie truly captivating is its ability to immerse the audience in the rustic, mountainous setting of that era. Could you share your experience with becoming part of that environment?

This creative technique I employ is versatile, used not only in documentaries but also in fiction films as an integral part of my artistic journey. To compose my works, I immerse myself in the setting by visiting locations and performing actions that may appear excessive. For instance, I once slept in the bed where my grandmother gave birth to ten children – it’s still standing – during winter to experience the cold. I also ventured into places like barns and bars, even men’s bars. It’s amusing because, while pregnant, I was offered numerous drinks that I couldn’t accept. However, it was enlightening. This method aided me in writing, preparing, and conducting pre-casting. I selected every face featured in the film, including extras. Remarkably, these were individuals who would never attend a casting call. It’s captivating because some of them are frozen in time. It’s not solely about physical appearance or movement within a space; it’s also about speech. The dialect used in this film is crucial.

Connected to that, how do you work with your actors? Do you workshop?

Initially, I have a great affinity for collaborating with actors. I find it equally enjoyable to work with them prior to filming, during the casting and rehearsal phase. The casting process is crucial, and I dedicate substantial effort to both newcomers and established actors during this period. To foster a sense of camaraderie with one actress, we spent time together over breakfast, played games, and worked on maintaining physical closeness. In another scenario, I sought to create a family-like bond among the cast. On set, I was contemplating how to evoke the children’s excitement when they first hear Vivaldi’s music at school. Thus, before filming, I asked them to identify sounds that symbolize each season from his “Four Seasons” composition.

It’s been mentioned that after Toronto, there are numerous festivals planned ahead. Can you share some insights on where the film’s path takes it from here?

I don’t know what I can reveal, but I know we are playing in some 20 festivals around the world. I will try to travel as much as I can, though I have a very small baby. I will do my best because I love to meet the public. And I’m happy because the response I’m getting is the definitive confirmation that the film is universal. It’s just my father’s tiny village that speaks to people and elicits emotions. I am starting to see the emotion in people’s eyes, and it’s really magic.

This interview has been edited and condensed for clarity.

‘Vermiglio’ Director Maura Delpero on Winning Venice’s Silver Lion for the ‘Most Personal Film You Could Ever Imagine’: ‘It’s Really Magic’

2024-09-09 14:47

‘Vermiglio’ Director Maura Delpero on Winning Venice’s Silver Lion for the ‘Most Personal Film You Could Ever Imagine’: ‘It’s Really Magic’

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