Paolo Virzì: «There are many ways to be a parent, sometimes you do damage, sometimes you do good. The kids fill the squares because they want to redefine themselves”

«A film about death and life, on how even pain can generate tenderness and protection.” As Paolo Virzì defines Five secondshis new film presented at the Rome Film Festival and released on October 30th with Vision Distribution. A story suspended between melancholy and rebirth, between the Tuscan countryside and a humanity that persists in seeking meaning even within pain.

The protagonist is Valerio Mastandreain the role of Adriano Sereni, a successful former lawyer, who has chosen to abandon his firm and the city to take refuge in a country villa now in ruins. There he lives alone, with an unkempt beard, until his forced quiet is upset by a group of young people who occupy the estate. Leading them is Matilde Guelfi Camajani, played by Galatea Bellugia pregnant and rebellious girl who brings life back to the forgotten vineyards. The clash between the two – generational, emotional, existential – soon becomes an encounter.

«I had the story in mind, but I revealed the cards little by little», says Virzì. «I wanted a countryside that wasn’t sugary, not the usual postcard Chianti. I had Valerio’s face in mind from the beginning. Galatea on the other hand is a bit of a woodland creature, a bit noble. In her there is something archaic and new at the same time.”

The reflection on the role of the father – presence, absence, obstacle or refuge – runs throughout the film. «The father can be useful, he can be harmful», explains Virzì. «I talked about horrendous fathers, disconcerting figures, dysfunctional fathers. Now perhaps I tried to look at this role with a little tenderness. I am the son of a policeman, a strict father, and I tried to be a little rebellious. Here there is neither celebration nor condemnation. Adriano tries to prove that a father is still needed. From a personal point of view, I believe that there are many ways to be a parent: sometimes you do harm, sometimes you do good.”

Next to him, Mastandrea adds an equally honest perspective: «I think that that line – “today a father is useless”, uttered by Galatea – serves more than to show the generational distance, to tell my character. It’s part of the evolution of the role in a different family. DAs a father, with children born from different relationships, I realize that the cross always falls on women: there is a constant request to be mothers in a certain way, at a certain time. The father always remains a little self-centered. I, for example, don’t play with children because I’ve been used to it.”

«It’s a film about guilt and care»continues the actor. «The ending also tells it: I will take care of you because you are ready to take care of me. It’s the only way I can tolerate the ending of this film.”
And he adds, with the frankness that distinguishes him: «This is the only character in which there is a lot of me, but very deep stuff, I don’t even know what I’m talking about. There is a certain emotionality that overwhelms me. I look like a gut actor, but I’m not.”