VITTORIO DE SICA – STAGING LIFE
Vittorio De Sica: a life documented by Francesco Zippel
Director Francesco Zippel marks his return to Cannes Classics with his documentary Vittorio De Sica – La Vita in Scena (Vittorio De Sica – Staging Life), after filming his 2021 portrait of Oscar Micheaux. This time, he reunites us with the Italian filmmaker who made neorealism one of the most enduring chapters in cinema history.
What made you decide to explore the career of Vittorio De Sica?
In an era where reality is increasingly portrayed in a way that is skewed, De Sica remains a master of truth. His films date back sixty or seventy years, yet they remain fresh and timeless, and, as my documentary shows, they continue to inspire filmmakers from every corner of the globe.
What was his secret with actors?
His empathy was the key to his excellence. He was just as comfortable working with non-professional actors as he was with Marcello Mastroianni and Sophia Loren. He was a straightforward, intelligent man who was able to create an instant connection with people, and that is what makes his films both unique and completely authentic.
How did you convince such famous names to take part?
Archive research is at the very heart of what I do – digging, searching for whatever remains unseen, for what the life of an artist like De Sica can tell us beyond what is immediately obvious. When it comes to filmmakers, each time I’ve asked for their help, I’ve been amazed by how enthusiastic they’ve been. For example, Asghar Farhadi told me that when he watches Ladri di biciclette (Bicycle Thieves), after a few minutes, he feels like he’s watching a film shot in Iran that tells the story of an Iranian family. That’s the universality of De Sica. You can find it everywhere, including in the work of Sean Baker, one of today’s most original voices in American independent cinema.
What is your favorite film of his?
Ladri di biciclette (Bicycle Thieves) is a veritable encyclopedia of empathy. It describes with rare insight and precision what human relationships are all about, and the acting is striking. You immediately forget that the father and son are not professional actors, and that is the essence of De Sica. His son Christian said it himself—when he watches one of his father’s films, he sees it through the actors’ performances.
