On Set - Kissless

On the 30th of November, we had the opportunity to be present at the registration of the short movie “Kissless”, co-produced and directed by Federico Rigoldi.

Our team spent a full day on the production location in Bergamo, in a Renaissance villa, having the opportunity to participate as extras in some of the shootings.

We discussed the production and the world of acting in general with the three of the main protagonists of the work, namely Brando Barbieri, Simone Grande and Lorenzo Michisanti, portraying the main male characters of the production: Luca, Leone and Lorenzo.The Cast and crew, starting from the emerging director Federico, were young and driven by passion and enthusiasm.

As for what can be disclosed at the current state of production, Kissless analyzes the social struggle faced by the current younger generation. In a story where the characters are compelled to face their deepest fears and hidden emotions, the darkest aspects of human nature emerge, and take over decency and instinct inhibition. On the other hand, from time to time, there are still residues of humanity and affective boundaries established by the protagonists.

Paolo: What were the first projects you undertook in your careers?

Brando: “I was the protagonist of a commercial in 2018, then I worked in television and later embarked on other projects related to the world of music and writing, including the writing of the essay from which this short film (‘Kissless’ ed.) is freely adapted.”

Simone: “I started making amateur short films together with some guys from the Science Institute, near the Swiss border. The presence of a crew full of enthusiastic people allowed me to meet many people and add participation in other short films to my resume. This gave me a lot of hands-on experience, which I consider very important. When I decided that this would be my job and passion, I deepened my knowledge on a technical level, first as a self-taught learner and then by attending an academy in Rome after participating in amateur short films for seven years. Additionally, during my self-taught training, I worked as a laborer in Bergamo. At night, I would study or participate in short films, then return to the construction site the next day.”

Lorenzo: “I come from theater, not cinema—I have been doing theater since I was a child: few short films, but much more theater. I was lucky enough to meet the artistic director of the Eco Theater in Milan, who noticed me and asked me to participate in a play. Two years ago in June, we crossed paths at the theater in a fortunate encounter; afterward, I took on a few more projects with them, and now this new experiment (Lorenzo’s role in ‘Kissless’ ed.).”

P: Where does your passion for performing and acting in front of an audience come from?

B: “For me, it's a bit like playing—a great way to stay a child or to have an excuse to play as an adult and reconnect with that childlike part. Simply put, it’s also a way to experience things you couldn’t in real life. Theater allows you to live a thousand lives and bypass the problem of choosing just one. This theme has always been widely debated in the philosophical world—for instance, Kierkegaard and many other philosophers argue that since humans are condemned to a single life, they are forced to make painful choices that result in the ‘death’ of an alternative life.”

P: Could you talk about the characters you are portraying? What connection have you created with them?

B: “For me, the character of Luca aligns with many situations and people I have seen and known personally. It’s like experiencing situations at a higher intensity, things I have lived through and seen others live through—experiences that permeate the daily lives of Generation Z as a whole.”

S: “I found analogies between myself and my character (Leone, ed.) in terms of insecurity, even though he deals with it differently than I do—he tries to be a very outgoing person, constantly interacting with others. Leone takes refuge in alcohol to overcome certain barriers he imposes on himself. I see a lot of myself in him, although, of course, I don’t behave in that way (laughs). However, sometimes, if the right company or certain elements are missing, I try to keep the evening lively by being more outgoing than usual. I don’t seek refuge in alcohol, so I stay lucid and try to involve as many people as possible, just like Leone does. However, Leone’s interactions are often not real connections—they help him avoid thinking about how bad he feels inside. Talking to others lifts him up, as does listening to their stories, in which he finds solace.”

L: “He is a character I would define as submissive—he is dragged along, especially by Leone. Alone, he wouldn’t do anything; in moments of calm, he leans on others, staying very much within himself and only expressing his emotions when he is with certain people who push him to do so. On his own, he would remain motionless. Among the three, he is the most contemplative one, and while he seems more bewildered when Leone is doing something reckless, at the same time, he holds the reins of the situation. On the other hand, he relies on the other two due to his insecurity about being accepted.”

P: What do you think you have gained from playing these characters? How much of yourselves do you see in them?

S: “I see myself in Leone in how he tries to exorcise his insecurity, which manifests as a lack of desire to be at this party. He only knows this way of surviving, of bothering people in a healthy and euphoric manner. However, he is not arrogant or mean. I see myself in his kindness toward others—I also consider myself to be quite fair, always trying to keep the mood up. From Leone, I’ve learned the importance of coexisting with people who are different from him, like Lorenzo, who is calmer and more rational and observes his surroundings. What I like about Leone is that even when he is surrounded by people who are not exactly like him, he manages to coexist with them, build strong relationships, and never wants to abandon them. Leone, like the other two, never acts solely for himself: the three of them are a group, which is very important. Metaphorically, they function as if they were a single entity: Luca, Leone, and Lorenzo.”

B: “Luca is a rather negative character—he doesn’t have many positive traits and is somewhat emblematic of a series of behaviors and struggles that, unfortunately, are typical of humanity but even more so of Generation Z. He represents a monument to relational difficulties, insecurities, and communication issues. This is also where the title ‘Kissless’ comes from—it refers to the absence of a kiss, not just with a partner but with existence itself and the lack of warmth. Luca embodies the typical issues that Generation Z struggles to face. He is more negative than Leone and Lorenzo because his most interesting trait, message-wise, is that he thinks a lot and reflects deeply but never turns his thoughts into constructive actions. In the end, he chooses a path that is anything but constructive. He avoids contact and the conflict he has with the co-protagonist, ultimately getting swallowed by a sick social system with an unfortunate ending.”L: “With the character of Lorenzo, I found myself in the role of the responsible one—the ‘mom’ of the group, making sure that everyone has fun and no one gets hurt. The most interesting thing about his character is that he doesn’t exist unless he is seen: on his own, he disappears, and only in relationships with others, however fleeting or superficial, does he exist in a different dimension, one that is more contemplative. Being dragged along, he can slow the others down when needed. He is always the more doubtful, hesitant one, yet he lets himself be carried away. He wouldn’t do certain things alone, but with the others, he finds himself doing them. He remains a follower, a stagnant person at heart. Leone and Luca are the only two people who involve him and pull him along because they share a bond of trust rooted in general insecurity that each of them expresses in different ways.”

Interview to Federico Rigoldi (director)

Tommaso: How did the idea of Kissless come about? Both the screenplay and the book.

Federico: “Well, the idea is from about 5-6 years ago, simply born from observing the discomfort we saw around us during high school and the first few years of university. Talking about it with Brando (the author of the book and a friend of Federico), observing the situation, we thought, "Okay, let’s tell it..." because then, I don’t know, you hear, you feel, and you read about cases of depression, etc... and you see that maybe most of your friends are guys. There’s discomfort and dissociation between the two sides (guys and girls). So, let’s say that the idea for Kissless was born first in “cinema,” as a screenplay for a feature film. I tried to sell it to major producers, we even had some important offers, but obviously, they’d say “you’re too young,” etc. So I couldn’t direct it unless I produced it myself. The idea is around five-year-old, so we were pretty young. Then, seeing that making a feature film would have been too difficult, I said, "Okay, let’s make, let’s develop a short film." But a short film intended for festivals, because telling this problem in a 20-minute film is not easy. Brando, the protagonist of Kissless, and practically my best friend, wrote and published this essay on the problem for Salani, so that’s an analysis, let’s say it’s a sociological analysis of the issue”.

T: So, is it not an adaptation of the book published by Salani?

F: “No, but the theme is the same. Let’s say it’s loosely inspired by the idea”.

T: You said you intend to present Kissless at a festival?

F: “Yes, that will be the goal. I think that, seeing the models that exist today, especially in our country, unfortunately, there is no short film market. There’s not even a market for films, because the film market is dead. Just look at the stop of tax credits and all these things. It’s an unsustainable model, right? Because even the films you think are just simple comedies cost 9-10 million. They were rightfully subsidized by state money, but that eventually runs out. If the films don’t make money when they come out... The problem is that there’s no promotion system, no proper marketing. You might spend 30 million on a film, then no one knows it’s out because there’s not even a trailer. So the goal is, for the genre, more to focus on the foreign market, to find foreign distribution thanks to the page (Federico owns a very popular Instagram page abroad)”.

T: How did you produce the film?

F: “The film is co-produced by me and a Turkish investor, a guy who loves cinema that I met through my page. Additionally, I was able to raise some money through a small e-commerce that I manage”.

T: What’s the budget for Kissless?

F: “Let’s say that to make a short film of this caliber, considering that the production will last four days, with a certain type of material... For example, we’re using the Alexa Mini, which is pretty much the best camera that exists, used in Blade Runner 2049. You also have to consider that when we see products with great cinematography, it’s the equipment that makes it happen. Of course, the talent and attention to detail matter too. Also, the lighting system, very important for Kissless, with the possibility of changing settings for each scene, involves high costs. In my case, however, it was crucial to know several people, many young professionals with whom I’m friends, who lent their skills at reduced prices. In my case, starting with a budget of 7,000-8,000 euros for the materials, I ended up spending 2,500 euros for lights, camera equipment, etc. Luigi, who is considered one of the best cinematographers and came from Rome, gave me a 5,000-euro discount. To get to the point, we have a budget of 16,000 euros for production, while we plan to spend another 7,000-8,000 euros for the festival we’ll present the short at. Looking at these numbers, it’s clear that other projects can reach much higher figures, although in many cases, a large part of the budget is allocated to the actors' compensation”.

T: What’s your approach to your first time directing, considering that you didn’t attend academies or film schools?

F: “Honestly, I don’t know how to answer. I think it’s something very personal: I believe that directing has to do with social skills and how you approach new situations. These days, I’ve seen the other guys (the crew) amazed by my approach, but I don’t think it’s something related to competence or experience, but rather to my personal character, which I think anyone can have. Moreover, we’re telling a story about sadness, nihilism, and distance from the world; I feel I can do it because Brando and I, until we were 18/19 years old, were like that. For example, I play the piano very well, but I would never have told anyone for fear of the idea of playing in public. Or, Brando and I never talked about girls or sex... I think this is something that needs to change. Not much in terms of changing personality, but of approach. I personally give importance to individualism: in the end, it’s up to us to become a certain kind of person to do certain things. Returning to the question, it’s a legitimate doubt, but I also believe in the possibility of following a more personal path: going to the cinema to watch films, following podcasts, and informing oneself on the topics considered necessary. After all, many people have done that: Nolan studied literature, but he loves cinema, invests 10,000 pounds, and with his friends, working on weekends, makes Following. Tarantino and Guadagnino also didn’t attend academies. These models make you understand how many art-related academies are “money-grabbing machines.” A kid who went to an academy, paying a lot of money, after finishing the course doesn’t receive any support. Take, for example, the Centro Sperimentale: the short films made by students as their final thesis aren’t sent to festivals. I think the “American model” works better: students have more opportunities to promote their work and be put in touch with agents”.

T: What has been the hardest thing so far?

F: “Surprisingly, I haven’t faced many difficulties from a cinematic perspective as much as from a people management perspective. Working in a group, it’s normal for friendships and antipathies to arise, but you always have to find the right way to communicate without offending anyone”.

By Paolo Alessi and Tommaso Vanni