Roots and Education
In your online biographies, your training at the Mohole School/Academy in Milan is highlighted. How did your academic path in such a dynamic city influence your transition into filmmaking, and specifically toward a highly codified and visual genre like horror?

 

My academic path at Mohole taught me a lot about cinematic techniques and film history. I always remember one of my screenwriting professors telling me to frequently experiment with the comedy and horror genres. This is because both genres share strong similarities; a few years later, I tried what he suggested, and I now realize just how right he was.

The Impact of Photography on the Genre
You work as both a director and a photographer. In horror cinema, atmosphere, lighting, and framing composition are crucial for conveying tension and unease. How do your sensibility and photographer's eye guide your directorial choices when building a scene of pure fear?

 

When I'm putting together a photoshoot or a short film, I often look for images that inspire me, especially when it comes to lighting. Most of the time, I also listen to music to help visualize exactly what I want to achieve.

The Philosophy of Pantera Film
Tell us about your connection to the Pantera Film project. What is the philosophy behind this production company, and how does it fit into the Italian independent film scene, especially regarding the production of short or feature-length thriller and horror films?

 

With Pantera Film, we have created a romantic feature film based on a book. However, the feature film is still currently in the post-production phase.

 Major Influences.
Which directors or artists do you consider your primary inspirations, and what are your absolute favorite films within the global horror landscape, both classic and contemporary?

 

The directors I admire and draw inspiration from have always been Peter Jackson, Dario Argento, and George Lucas. There are so many horror films I have truly appreciated over the years, but I would definitely like to name a few. The very first The Phantom of the Opera from 1925, Nosferatu, Deep Red (Profondo Rosso), and House of 1000 Corpses. For contemporary cinema, Men and Eggers' Nosferatu.

The Territory as a Set.
Working mainly in the province of Milan and Lombardy offers an interesting contrast between urbanization and more isolated or foggy areas. Do you feel that your homeland and its landscapes possess a hidden potential waiting to be exploited to create horror or psychological thriller settings?

 

The province of Milan has given me great inspiration for locations, as was the case for one of my short films and several photoshoots. Having frequent access to abandoned farmhouses (cascine) really helps with the story's setting. We don't get as much fog lately, but when it returns, I would love to shoot something utilizing it.

The Evolution of Visual Language.
There is a noticeable emphasis on color contrasts and lighting in your work (such as the cold and neon tones in some of your photos). In modern horror cinema, there is a major shift from the classic jump scare to a tension more deeply tied to aesthetics and psychological discomfort. What is your personal approach to terrifying or hypnotizing the viewer?

 

Personally, I also prefer building tension for the viewer. However, jump scares can also be very helpful in delivering that necessary tension.

 A Look into the Future.
What are your upcoming projects?

Do you already have a new piece of work in development—perhaps a feature film or a new horror-themed photographic/cinematic project—that you can share a sneak peek of?

 

I am set to shoot several short films soon. One in particular that I've wanted to make for a long time is a prequel to one of my short films based on The Phantom of the Opera. It will focus more on the character of the Persian, who has been rarely used in recent adaptations. I am also planning to make a short film about vampires or witches. Further down the line, I will be directing my first feature film.