Laura Luchetti has directed short films, music videos, commercials, documentaries, and theater productions. Her first feature, “Febbre da Fieno,” has been featured at many international film festivals. Her first stop-motion project, “Bagni,” was nominated for the Silver Ribbon Award for Best Animation. Her new stop-motion project, “Sugarlove,” was officially selected for 2018’s Venice Festival Critics’ Week.
“Twin Flower” will begin screening at the 2018 Toronto International Film Festival on September 8.
W&H: Describe the film for us in your own words.
LL: “Twin Flower” is a dark drama about innocence. It is the story of an unusual friendship that turns into romance between two young people, Anna and Basim, who are desperately trying to escape from their pasts. Anna is the daughter of a migrants’ trafficker, and Basim is an illegal migrant. The two form a powerful bond, and they become inseparable as they travel together across the harsh and beautiful Sardinian landscape.
W&H: What drew you to this story?
LL: I am naturally drawn to stories about lost innocence and the struggle to regain it. My two protagonists are trying to escape from a reality that hurt them. They are both running towards their future and the right to have one.
Currently, around the world, there are millions of kids like them who don’t have a voice, but who are trying to scream very loud to get our attention. We need to give them back their innocence and the right to be happy.
W&H: What do you want people to think about when they are leaving the theater?
LL: No matter how painful the past, there is always a way to try to escape from it and walk towards the future.
W&H: What was the biggest challenge in making the film?
LL: Making the film.
W&H: How did you get your film funded? Share some insights into how you got the film made.
LL: It was a long process. The first funding we got was public funding from our Ministry of Culture (MIBACT). The script was then selected at the Atelier du Festival de Cannes and the Sundance Screenwriters Lab, which helped to give the project a better profile. We then received funding from Sardinia, the beautiful and generous island where we shot the film.
W&H: What inspired you to become a filmmaker?
LL: My desire to tell all kinds of stories.
W&H: What’s the best and worst advice you’ve received?
LL: The best and worst advice I’ve ever received is “never take ‘no’ for an answer.”
W&H: What advice do you have for other female directors?
LL: Use your inner grace, madness, and sensitivity to tell a story. I believe this will make the difference.
W&H: Name your favorite woman-directed film and why.
LL: At the moment, it would have to be Lynne Ramsay’s “You Were Never Really Here.” I watched it a couple of days ago, and I was overwhelmed by its power. The unique way she deals with violence and love is amazing. I loved it. I also love everything that Agnès Varda has directed. She is a sweet genius!
W&H: Hollywood and the global film industry are in the midst of undergoing a major transformation. What differences have you noticed since the #MeToo and #TimesUp movements launched?
LL: Italy is far from Hollywood, but the echoes of what happened in the States came pretty far toward our direction. The good thing about #MeToo is that it raised the confidence of women all over the world to shout for what they want. Women’s voices, hearts, talent, wit, and creativity have always been there, but were somehow submerged by a culture that has kept them quiet. #MeToo helped these aspects to all become visible, and we all know how much there is out there to be seen!
