Matteo Novelli, director and photographer: “Pain and eroticism inspire my work.”

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She participated in the AboutUmbria Collation project, representing death in the “Canticle” of Saint Francis with her photos. She did so with two models dressed as a wolf and a sheep: “I wanted to use two female figures and not focus on a male one because adding a man could have shaped the project differently, making forgiveness appear differently.”

Telling stories with images, whether moving or still, doesn’t matter. That’s what Matteo Novelli does, a director, photographer, and screenwriter from Perugia who, in 2016, founded NoviFilm, his own production company that has been growing steadily for several years. He has produced a wide range of works, including short films (Solo, Rouge, and Lost Garden), stills, and music videos (Tanst), with which he has participated in national and international festivals, even receiving awards. “I could consider my work visceral, but also imaginative; it’s a direct way to communicate my thoughts. Let’s say it’s an evolving process, because I’m still trying to understand myself.” Let’s try to understand who this young director is…

Matteo Novelli

Director, screenwriter, photographer, and teacher: who is Matteo Novelli?
I’m definitely a combination of director and screenwriter, sometimes also photographer. As for teaching—passing on what I’ve learned to others—it was a short period of time, perhaps something I’ll repeat in the future.

Which of these professions best represents him? Which is he best at?
Directing is the one I rely on most. I hope that creating stories, which I put into practice by combining directing and screenwriting, is the work I do best. At least that’s how I feel.

When, and how, was NoviFilm, your production company, founded?
NoviFilm is my professional entity, born in 2016 when I made my first film; then, over the last 5-6 years, it has grown, becoming my official profession. Directing and photography have become my daily work; they’re no longer just a passion.

In the AboutUmbria Collection magazine dedicated to the “Canticle” of Saint Francis, you took photographs of the part of the work dedicated to the earth and death. Is there a reason you chose this subject?
Suffering is a state of mind that I find very fascinating; it has always helped me create. Pain and eroticism are the main sources of ideas for most artists. I’m not saying anything new; for centuries, they have been two themes that have inspired countless songs, paintings, and films: personally, I find them the most stimulating experiences. So I decided to depict death because it most stimulates my imagination. Furthermore, referring to my previous works, I already had a connection with it, so I liked it as a plot to develop.

You represented everything by photographing two models dressed as a wolf and a sheep: why this choice?
There were several paths that led me to this choice. The first was personal, and AboutUmbria gave me carte blanche. Furthermore, the two girls have been protagonists in other projects of mine, so reintroducing them here was a tribute to the work I’ve already done with them.

Why two women?
I wanted to use two female figures and not focus on a male one, because adding a man could have shaped the project differently, making forgiveness seem different. If I’d used a male wolf, it could have resulted in simply forgiving a bad relationship, but in this case, we’re not talking about that; we’re talking about the universal meaning of forgiveness conveyed by the ideas of Saint Francis, so two girls negated this possibility.

 

They are a wolf and a sheep who are no longer enemies, but embrace and kiss… is this a hope for peace?
I wrote a very short photographic story that moves from death to pain to forgiveness. I thought that forgiveness is the highest form of love, its highest point; these two figures (the wolf and the sheep) achieve the kind of forgiveness that leads to a nuance of love. Pure forgiveness is this: understanding the nature of the other, asking why something happened, and not throwing oneself into what today leads to the populism of aggression, even verbal. Two completely different creatures don’t necessarily have to clash. Furthermore, I couldn’t help but be inspired by a wolf, speaking of Saint Francis.

I noticed that he has a particular attraction to the wolf: it is also the symbol of his production company, in addition to the figure’s return in the short film “Rouge” (an eco-friendly Little Red Riding Hood to tell the story of a bear and man’s environmental impact).
It’s a coincidence. After making Rouge, the wolf also became the symbol of NuoviFilm, as if the short film had marked a before and after. Then came the one about Saint Francis. I think we’ll be without wolves for a while; we’ve made enough of them (laughs!). Although, in fact, this animal has now become our symbol.

Browsing through your photos, you notice that you prefer photographing women… is it just a question of aesthetics and taste, or do you feel a greater connection with them?
I could say it’s all of these things. Obviously, it wasn’t exclusive, but—it’s true—I often immortalize women. It’s the search for a type of taste and aesthetic that fascinates me and allows me to digress and create more.

 

Today, anyone with a cell phone in hand can take photos, videos, and even films: how do you see this evolution? Could it threaten your work?
I’ve always been in favor of technological evolution. I don’t feel threatened by it at all because I believe it’s made of ideas: good tools aren’t much use if you don’t have ideas. I also think it’s right that this type of technology has become accessible to everyone: we can now see work created even by those who, for financial reasons, couldn’t afford adequate equipment. If we go back 15-20 years, certain devices for taking photographs and videos were very expensive. Not that they’re cheap now, but they’re more accessible, which allows more people to approach this world. Then, obviously, there are many works that aren’t to my taste, but at the same time, you can also learn about more interesting products. So, if technology is used ethically, I’m always in favor.

Has artificial intelligence entered—if it has entered—your work? Does it scare you?
It hasn’t entered my work yet; I’m very analog. For my taste, and because if you’re looking for a certain aesthetic, you certainly won’t find it in artificial intelligence. It’s one thing to create a flyer, and another to create a photograph that conveys an idea and a feeling. Writing a photo that evokes emotion with AI requires a huge amount of effort; it’s not just about providing input; you have to study a lot, especially for a photography project where everything is more complex: I’d rather take the shot than understand how to write the text. I think artificial intelligence could be useful for writing soap operas or poorly written teen dramas… they could only improve. However, it can’t threaten pure creativity—it doesn’t scare me at all for my work—on the contrary, it can intervene in more frivolous projects. I see nothing wrong with that. However, little is said about the fact that AI has already existed for many years in the world of cinema, audiovisual media, and music; artificial correction and the speeding up of certain processes through editing tools have been used for quite some time.

Is there a director who inspires you and has influenced your approach to filmmaking?
Guillermo del Toro, especially for his use of costumes. I like how he manages to tell fairy tales for adults. I don’t identify with his directorial styles—camera movements or anything like that—but when it comes to some of his adaptations, I’d say him. Then there are many directors who, despite their work being far from my vision of cinema, I enjoy watching and appreciate precisely because their ideas are completely different from mine.

Like?
Staying in Italy, I think of Paolo Sorrentino and Matteo Garrone. I really like them, but as I was saying, they’re very far from what I would bring to the stage; their ideas are completely different from mine.

Is there a film you wish you had directed?
El Conde by Pablo Larraín, released two years ago. If I could steal a film, I’d steal that one. It’s not almost anyone’s favorite film, but I love it. He’s a great Chilean director, he portrays characters in a very personal way, and in this case he talks about Augusto Pinochet—his dictator—using the figure of Dracula. I really liked this portrayal.

How would you describe your work?
I could consider it visceral, but also imaginative; it’s a direct way to communicate my thoughts. I also sometimes build on nothing. Let’s say it’s an evolving process, because I’m still trying to understand myself. I’m in the early stages of my career, so I’m building and understanding myself: year after year, there’s always something new.

Speaking of which: do you have any projects in the works?
There are two directing projects. For now, I don’t know which of the two will take the lead, but we’ll try to figure it out. We’re currently in the bureaucratic phase.

 

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