“A political film? No personal»- Corriere.it

All my films are personal. More personal. Nanni Moretti nips in the bud the first comments on her latest film, The sun of the future, to be released on 500 copies on April 20 and then in competition at the Cannes Film Festival next May. Three films in one, in truth: protagonist Giovanni a director (Moretti in a new alter ego after Michele Apicella) moved to a producer (Buy, their fifth time together) who are shooting a film set in 1956 in the days of the Soviet invasion in Hungary (with Silvio Orlando, journalist of the unit and secretary of a section of the PCI named after Gramsci, linked to Vera, Barbora Bobulova).

But the film that Michele would like to make a love story between two boys in the seventies, full of Italian songs: Tenco, de Andr, Battiato. I wanted to tell this, I already had the idea of ​​the 1956 film before Three floors, I had written but we concentrated it on the life of the director Or Giovanni, whom we see on a scooter in Piazza Mazzini, in battle against violent films and platforms. I’ve always reacted by going against the wave. In the mid-80s, when fake international films were being made, I created the sacher to make films rooted in the territory. Then when they closed the halls I opened my cinema. Now I make films for cinema-goers. On the platforms go the series. He put himself in the final parade on the Imperial Forums amidst the red flags, his actors, the elephants of the Budavari circus. a take born by chance, with that greeting I close the first phase of my career which will be followed by another 50 years and perhaps even a third joke. And he gets serious again when it comes to talking about Italian cinema. Authors and films are there. The cure is missing. Too many films are thrown into jeopardy.