Light enters the forests in conjunction with shade. They alternate, cross, play as figure and counterfigure,
as living spaces between silence and noise. It is as if the trees want to escape the forest. But they cannot.
They grow in search of light, they stretch to reach higher than the others but remain anchored in the same
spot, one next to the other, in regular lines that define a perspective.
The forest is the central place for the encounter between Dani and Michele. It is the space in which they
follow each other, push each other away, get to know each other. It is a space in which Nature becomes
theater. A space where reality becomes a place for the soul, a space that hosts meanings and metaphors
that transcend itself, ready to turn into a dream.
Like my first film Shun Li and the Poet, La prima neve is built in a constant dialogue between documentary
and fiction, between the closest and most direct rapport with reality and the choice of intimate moments
built up through minute attention to the details of the script. The same holds true for working with the
actors: locals and professional actors interact with one another, in a process of cross-contamination
between reality and acting. What this second film of mine adds is the opportunity to work with the energy
and unpredictability of children.