The Italian director spoke to THR Roma about how lockdown inspired her Cannes competition film about criminal archeologists, her creative relationship with actress sister Alba and why artificial intelligence will never replace 'organic dumb' cinema: 'Machines can't make mistakes.'
ahead of the film’s Cannes debut, Rohrwacher discussed how the COVID-19 lockdown inspired the story, why Alba is her “first reader” and “the first person I show the first cut of my film” and why artificial intelligence will never replace “organic dumb” cinema: “Machines can’t make mistakes.”
The story of the region where I grew up has always been linked to these findings. Stories that go: “Ah, that guy found this incredible vase; he sold it to another guy, who sold it to the Louvre. This other guy found a gold necklace.” Everyone spoke about these incredible discoveries, that were always made at night, all clearly illegal. So a lot of stories had accumulated in my ears on this theme, on this world.
The black market in art and artifacts — which is really a big, big business — is just a small part of the story. Why didn’t you focus on that? Because we need the foreigner. We need the point of view of the foreigner, we need to do everything we can to make our point of view a foreign one. This is, I think, something important that concerns our whole society. Being able to look with the eyes of a foreigner is maybe the best way to see ourselves. It was a story so linked to my region, to my territory, that having a “foreign” guide allowed me to have another way to look at things and show them in a different way.
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