06/09/2019 - VENICE 2019: We spoke with Elisa Amoruso, director of the much-talked about documentary Chiara Ferragni – Unposted, screened in Venice’s Sconfini section

We put a few questions to Elisa Amoruso, the director behind Chiara Ferragni – Unposted [+see also:
trailer
interview: Elisa Amoruso
film profile], screened in Venice’s Sconfini section, honing in on the nature of her offering and the aims of her film.

Cineuropa: How did the idea for this project come about?
Elisa Amoruso: I received a call from Francesco Melzi D'Eril of Memo Film. He knew me from my earlier documentaries, which were often portraits of women, and he took me into consideration as a possible director. We then organised to meet with Chiara Ferragni in Milan: it went very well and, before we knew it, we were working together.

(The article continues below - Commercial information)

How long did you follow Ferragni for? How did you organise the work?
As with every documentary, dramaturgical structure depends heavily on the protagonist’s life. We sat down with Chiara and Fabio Maria Damato [her manager] and selected the events we deemed to be the most important in her life. We started with her wedding at Noto on 1st September and then followed her activities for almost a year, especially the professional ones. I was very interested in portraying her work: in general, people believe that Chiara takes photos and then makes millions of euros, but that’s really not the case! She leads a very demanding life: she travels constantly, she’s the managing director of two businesses, she’s a businesswoman in all respects! This dimension of her life, which is less talked about on social media, fascinated me and played a lead role in the film.

How did your perception of the influencer change over the course of the film’s production?
At the beginning, I knew a lot less about the life of an influencer. I’m passionate about cinema, art, literature... but less so when it comes to fashion. Little by little, I discovered the person behind the name, as the filmmaking process evolved. I was interested in analysing the technological, economic and cultural revolution brought about by social media. This huge change in mass communications fascinates me. In this respect, we interviewed writers, journalists, sociologists and university professors who illuminated us on the specific nature of this revolution. Someone rightly said that “influencers have always existed”, it’s just that with the digital revolution, they’ve become fully institutionalised. I’m not sure whether my perception has changed since I first started making the film. What I can say is that now the influencer role is spreading into so many camps and is a profession in and of itself. Chiara has moved beyond this role; she’s not just an influencer anymore, she also heads up two businesses as a digital entrepreneur.

What problems did you encounter during the filmmaking process?
The most crucial requirement is for the director to establish a relationship of trust with the subject in question. With Chiara, I have to say that our connection was very strong right from the outset. As a result of this trust, she really let go; I asked her anything throughout the interviews, really, and she never once held back. I didn’t encounter the problems I’ve experienced with other people further removed from my world; it was harder finding common ground with a fisherwoman from Marina di Carrara, for example, than it was with Chiara. Apart from that, we had problems while filming in New York: there was too much rain. And ultimately, we ended up with so much material – over 100 hours of it: condensing it all into the final 85 minutes was no easy task.

Who is the film aimed at, first and foremost? What type of reaction are you expecting from the audience?
Naturally, we’re looking to the audience composed of Chiara’s followers: 17 million in total. But I would also like to widen the circle and to debunk some of the misconceptions people have about her. It’s my own personal battle that I’m carrying out: it’s never good to be prejudiced. Each and every time I’ve had the opportunity to tell stories revolving around popular misconceptions, it’s always been a huge challenge for me. In this respect, the film is on a par with my earlier works. Generally speaking, I like to tell tales of female success, where important goals are achieved in the face of adversity.

Any new projects in the pipeline?
Yes, on 20 September we’re due to begin shooting a fiction film produced by Bibi Film. For the moment, it’s called Maledetta primavera: I hope we get to keep either the title or the homonymous song. It’s a coming of age tale: the protagonist is 13 years old and her parents are played by Micaela Ramazzotti and Giampaolo Morelli.

(Translated from Italian)