The Pro Talks

– In your opinion, what makes a film worthy of an award, and what is that special “something” that sets it apart?

I think the most important thing about a film is that it makes you think about cinema as a whole. It’s not just about the story it tells but also about how it’s crafted, what it reveals about the world, and how it presents all that to its audience.

– What themes do you think young filmmakers should focus on today?

One of the central themes for me right now is feminism. It’s not a new concept—it’s always been around—but I believe it’s vital. It’s an essential lens for creators to adopt, not just in what they create but in how they approach their work. Who are the people behind these creations? Are they mindful of feminism? Do they find ways to address it in their work?

– Speaking of feminism, do you think the film industry is open to women today, or is there still progress to be made?

Things are improving, but not across all areas of the industry. It varies depending on the filmmakers and sometimes on the country. Fortunately, feminism is now part of the conversation. At the very least, we are saying the word. It’s crucial for creators to think about how they can engage with this topic in their work.

– When did you decide this field was for you? Was it always a childhood dream?

I became interested in cinema in high school. I’m from Bologna, Italy—a very cinematic city. I was always there, watching films, discovering old classics. I truly believed cinema was a way to blend multiple forms of art—visual art, contemporary art, literature, music—and create something entirely new.

– You’ve also worked in experimental cinema. Can you tell us a bit about that? How does it differ from traditional filmmaking?

There are many kinds of experimental cinema, of course, but one of the main distinctions is that it’s non-narrative and often combines different styles. I’m fascinated by how you can experience something that doesn’t necessarily tell a story. There are experimental films about nature, trees, or the suburbs. There are also deeply personal films that explore emotions—capturing a state of mind through imagery.

– What drew you to this kind of cinema?

Working in experimental cinema was a “risk” for me—a path I happened to take as I entered the field. But it was incredibly refreshing. Discovering these “strange” films early on was so interesting. I don’t prefer experimental films over narrative films, documentaries, or animations. You can have an amazing narrative film or documentary—or the exact opposite. It all depends on the film and the artist.

– In 2017, you managed the Youth Audience Program at the Luxembourg City Film Festival, and in 2018, you joined the festival’s general artistic committee. What has your journey there taught you?

I love working with young audiences. We organize activities and workshops for children as young as three years old and up to high school students. We also run projects in schools. It’s truly wonderful. Working with young audiences makes you view films from a different perspective—thinking about how to explain certain images, for example, to middle schoolers. Watching films with adults is different, but at the same time, those two worlds can intersect. Adults and children can see very different things in the same film. It’s amazing to discover this dynamic every year at the festival.

– What would you say is the unique element of the Luxembourg City Film Festival?

We strive to present a panorama of contemporary films to an international audience because Luxembourg is home to a very diverse population. For us, it’s exciting to offer a variety of films that cater to all the different communities in our small country.

– What topics do children’s films at the festival usually explore? Have you included feminism as a theme?

Every year. I always try to address feminism, and it’s fascinating to discuss it with young people. Sometimes they know more than we think—more than we knew at their age. Their perspective on films and feminism is incredible. They feel very strongly about it.

– How do you typically select films for a festival?

We aim to present a variety of styles and aesthetic approaches—animation, documentaries, and fiction films. The key is to showcase something different from what children are used to seeing. These aren’t films they’d find on streaming platforms or blockbusters. We want to offer them something fresh and connect it to what they already know. The challenge is to surprise them and spark their interest, even if these aren’t films they’d pick on their own.

– One final but important question: What does cinema mean to you?

For me, cinema is a way of thinking about the world. It’s a means of expressing ideas through images, and that is incredibly important.