Mattia is serving a 14-year prison sentence for homicide in a Milan detention centre.
In March 2015, an Italian court convicted him and his father for the murder of their neighbour. Mattia was just 18 years old at the time of the crime.
After 7 and a half years behind bars, the young man enrolled at one of the country’s most prestigious universities, Bocconi. Authorised to leave prison during the day to attend classes, but obliged to return to his cell in the evening, Mattia seized his chance.
How can he fit into this new life that awaits him on the outside?
How can he live with the weight of the past?
A short documentary film directed by Niccolò V. Salvato
Production: Mara Cracaleanu, Melancholia Pictures
Cinematography: Kristóf D. Keszthelyi
Sound, mixing: Omar Gabriel Delnevo
Editing: Gustav Arthur Simon, Mireia Albinyana Siegert, Sophie–Dominique Parea
Colour grading: Lacó Gaál
Music: Ádám Salomvári
Interview
Niccolò V. Salvato Filmmaker
“I never saw Mattia through his past drama, but always through his future.”
- Can you introduce yourself in a few words, Niccolò?
What was your journey into filmmaking?
I come from Milan, which I always felt was too small for my big film dreams. Since moving to London I decided to dedicate my life to cinema.
My instinct as a documentary filmmaker began… when I was one. I was constantly being filmed with this Panasonic DVC camera, and instinctively I tried to grab it to see what was on the other side. I guess I always wanted to be behind the camera, and couldn’t stand to be in front of it.
- How did you meet Mattia, and how did the idea for this film begin?
My father is a professor and has led university courses in prison facilities too. Mattia was one of his students, and that’s how I got to know him. One morning I had to pitch my graduation project, and for weeks I struggled to find a subject. Some hours before the pitch, Mattia’s story resurfaced in my mind and it was hard to get it out of my head. So I pitched it on the spot and got the project greenlit.
- The problem is that getting a camera into prison is no easy task. You have to explain the project, negotiate with the prison administration, and sometimes wait weeks or months…
Yes, and the most difficult part was that from the pitch to production we only had three weeks! Thankfully, the prison staff understood the good will behind the project. Many films on such topics have a bad history with prison staff, as they portray the system with no shades. But we made clear our intent wasn’t some broadcast-ish washed-out take on prison, but a real view on reintegration. It was still difficult and stressful, but we got the permission in time and felt welcomed like at home once in prison, that was incredible. Both by the staff and by the inmates.
- Were the teachers and students aware of Mattia’s background? Has he been rejected or feared by some?
All students and professors were aware of Mattia’s background, yes. They planned a slow transition for Mattia from online classes attended from his cell, to in-person ones, and it wasn’t an easy transition. Most students were eager to welcome him, but some raised doubts, and the board of professors reacted cautiously. And once Mattia got admitted in person, some of those skeptical students didn’t bother to express their thoughts by calling him a “monster”. Still, Mattia confronted them politely and they finally ended things on good terms.
- You appear on screen during Mattia’s interviews at the university. However, even though we can hear your voice, we always see you from a distance. Why did you choose to keep this distance?
Well, I wasn’t joking when I said I hate to see myself on camera. The style was actually purely observational at start. But on the first day of shooting, Mattia felt very uneasy. Imagine being already out of context, walking among people after 9 years of segregation. If you add a film crew stalking you, you really start to feel like some sort of rare tv spectacle. So I had to step in and make it feel like a dialogue between Mattia and society (myself). And for that I chose distance, in an approach similar to a CCTV camera. The idea was to replicate how Mattia was feeling. Constantly spied on and too small for the outside world.
“Mattia is the proof that reintegration really is worth it.”
- Some filmmakers would have added violins or tension to this story. On the other hand, we sense a very light atmosphere, even in the prison scenes. What was your approach from a stylistic point of view?
I never saw Mattia through his past drama, but always through his future. For me, he felt like a curious child, eager to explore and reborn. So I chose carefreeness.
- How are Mattia and his father today?
After university Mattia found a job, a girlfriend, and finally got released after almost 11 years together with his father. It’s difficult to call it a happy ending, Mattia stresses it every time I bring this up, but I really like to see him as the perfect example of reintegration. Among many others that unfortunately ended differently, Mattia is the proof that reintegration really is worth it.
- You are now working on a documentary series project. Can you tell us more about it?
My producer Mara and I always thought about this project with a broader perspective, so we have been developing a European docuseries for three years, and finally started shooting recently. The project follows three different inmates convicted for murder on their path to reintegration in three different European countries. This opens a broader discussion on how prison rehabilitation is handled in different justice systems.
- What’s your view on short documentaries in particular?
Reality is important now more than ever. And documentaries spark curiosity in discovering realities we might never see with our own eyes. Especially in this era when attention span is reducing, unfortunately, short docs could really make an impact if reaching more people.
- Is there a specific film that caught your eye on 99 that you would recommend?
I was drawn to Clear Sky simply because I believe children are so fascinating in their way of looking at the world. The film shows you a Ukrainian panorama from a completely different perspective, and it’s so worth watching!
- What do you think of 99 and the fact that your film is now subtitled in several languages?
I think that’s exactly the reason why I made this film: for people from all over the world to see a life story and hopefully spark conversation about what prison really is. So I am lucky enough to have it distributed by 99!