POLAROID: “I wanted to express the freedom of this little girl, living on the streets, through the concept of Polaroid: nowadays children are more protected because the reality is a bit tough. Why Polaroid? Because they are metaphorically – it’s like memory that fades; also their colour changing – when white becomes pink and black turns green – like the memory we manipulate to make it more acceptable. Or even to project something that has happened. I also liked to shoot the film in a unusual size and that’s where the constriction of the Polaroid’s format allowed me to tell the reality in a different way, with a larger focus, sometimes exaggerating a point of view of the machine from very high or very low, representing the real height of an adult or a child, but without being too subjective. The film has an ‘80s flavour like the Polaroid.”
GIULIA: (Salerno, the young protagonist of the movie) “She’s a miracle, the girl of our dreams. She is an actress who has already made several films and worked for five years, and when she arrived in the office I realized she was the one. She has a powerful, deep, ancient soul, a true artist. Like every artist she is not easy to manage but to me the easiest people are less interesting. All the children in the film, for about a month, came to sleep at my house every weekend: 12 of them, even those who had small roles; in this way, I had the chance to know them and they formed a strong group, and they also got to know me, creating a sense of a shared group, like a democracy.”
DONATINA: “In the film, she is my daughter (Anna Lou, born from his relationship with Morgan). She’s a glimmer of light, however, a reflection of the mother and in any case she is subdued. She doesn’t have as strong a personality as Aria, and that’s also the reason why her mother loves her more. Aria observes the dialogue between the two, an impenetrable world, a gilded cage where she is not allowed to enter.
CHARLOTTE GAINSBOURG: “She was a natural fit it in the film. When I saw her as a child I fell in love right away, because I saw her as a sister. I did not think, ‘I want to be like you’, I said, ‘I am you, we are the same’. And I wanted so much to meet her. In 2000 we met on the set of a movie, but we did not even have a scene together and that’s when I stole her Polaroid from the make-up dressing room to feel closer. Instead, years later, we did a film together, directed by her husband, and I realized that we are not at all the same, in fact very different, and for this reason we understand each other so well, and we do not need to tell each other anything. And then the most hilarious thing is that neither has ever asked the other: ‘What about your father’?
COMENCINI: “The link to the 1966 film by Luigi Comencini, an extraordinarily pathetic film – in the noble sense of the term – because it makes you cry (and crying at the cinema is beautiful and exciting) has been a great inspiration. It was not my main intention to make you cry with my movie, but I cried when I produced it. I also felt unappreciated when I was a child, I felt for Andrea in the movie: the only thing is that Aria (the protagonist of Incompresa ) is less complex. Aria is a free spirit and, above all, she is not only misunderstood but she also does not understand the world of adults who are crazy, unstable and bipolar. When we wrote the film with Barbara (Alberti) we reread the novel and found the similarities, as if these films were almost spiritual souls left apart. There is also a time when Aria sees the very end of ‘Incompreso’. Comencini and the film reminds her that there is no hope and in fact from here she decides on this extreme action that actually is a request for help, a need to change because in reality when one wants to die, one just wants to change, so she wants to change things. This is just a dream in the end, a dream that manages to bring together her parents; perhaps another dream was this tropical vacation, and perhaps the reality is that nothing changes and that she is always alone with her cat and her suitcase in the middle of the street. ”