The Damned, Roberto Minervini’s vision

What inspired you to begin working on this film?

War is a constant in contemporary American political discourse, and I wanted to examine how it is portrayed. I have a real problem with the tropes that are widely used in the war movie genre: heroism, national identity, revenge, sacrifice for a good cause, and the overall “good vs. evil” diatribe. I find them politically dangerous and misleading. Hence, a few years ago, I began to think of a different approach to depicting war, focusing on the individuals rather than the whole. That was the starting point of the film process.

Please describe your working method and the atmosphere on set…

My approach to filmmaking varies from film to film. However, one constant element is the fact that I want actors to inhabit the set, not to just visit it during work hours. For The Damned, we created a permanent camp where actors would spend the entire day, whether they filmed scenes or not. They were free to start a campfire, make coffee or prepare food, based exclusively on their own needs and will, without my guidance. This contributed to creating a very communal work environment, which enhanced the sense of camaraderie among the actors, and empowered them to be a part of the creative process. My films are experiential and immersive, and the journey unfolds as we experience it together.

Please share a few words about your actors.

My actors do not come from a traditional casting process. I sought them out and chose them not just based on their acting skills and repertoire, but also for their intellectual abilities. I needed them to be able to actively contribute to the development of the story, to push it beyond what had already been conceived and written by me. Among them are historians, visual artists, and writers.

What did you learn during the course of making this film?

Even though I knew this already, making this film reminded me of how physically demanding this art form can be. This shoot was utterly grueling. I place a lot of value in the physicality of my work, for there is a sense of fearlessness that comes with pushing the limits of one’s own physical abilities. The more I break these boundaries, the freer I feel.

What would you like people to remember from your film?

Perhaps the way my film debunks toxic masculinity, which is very present in war cinema and war culture in general.

Can you tell us about your next project?

It will be an Italian film. I am going back to my roots. That’s all I can say, for now.