An Exclusive Interview with Edgardo Pistone on His Latest Film, Ciao Bambino.

LG: What led you to cinema?

EP: Several factors played a role, but one stands out in particular. I studied at an art institute in Naples, and whenever I had math, biology, or chemistry classes, I would make sure the teachers kicked me out of the classroom. During those hours, I would go to see a photography professor who had his students watch films—masterpieces from the history of cinema. That experience transformed me into a passionate spectator. After each screening, we would discuss both philosophy and the poetry of life. Eventually, this path led me to study at the Academy of Fine Arts, where I began making short films. Through these shorts, I found my voice within the language of cinema.

LG: Are there common threads between your shorts and Ciao, Bambino?

EP: Definitely. For example, I consistently use black-and-white cinematography, non-professional actors, dialects, and a poetic gaze on those living at the margins of society—or whom society perceives as marginal. Another recurring feature is my approach to filming the world: I often suspend space and time. None of my films provide clear cues about where or when they are set. Thematically, almost all my films explore love, though it’s rarely straightforward—it’s always ‘canted’ love.

LG: From which idea did Ciao, Bambino emerge? What was important for you to convey through this film?

EP: The idea has been with me for a long time, ever since I experienced something similar to what the protagonist goes through. Over the years, I began jotting down a series of events and observations. More concretely, I started working on the treatment after Russia’s invasion of Ukraine in 2022. The OECD had warned about the rise of human trafficking, particularly Ukrainian women lured by false promises of a better life but instead drawn into sexual exploitation. From these realities, I imagined the meeting of these two souls, which became the genesis of Ciao, Bambino.

At the heart of the story is the challenge of growing up in a context resembling an “urban war” and grappling with a universal question: What kind of human being do you want to become, and what kind of human being are you becoming? These are paths shaped by both fear and desire—forces that define all human lives.

LG: Tell me about the actors.

EP: Casting began with Attilio, the protagonist. I wanted beautiful actors, challenging the stereotype that youth from the periphery are always rough or emaciated. Many of the young men and extras come from my neighborhood, or even my family—Attilio’s father, for example, is played by my own father. For most of them, this was their first experience onscreen.

LG: The opening shot from under the sea is poetic and evocative. Can you describe this choice, as well as the sequence showing the friends among rocks and water, under the blinding sun, punctuated by a flute solo that adds a dreamlike, nostalgic atmosphere?

EP: The sequence of the boys diving into the Mediterranean represents the last vestiges of adolescence, the final remnants of idyl. Soon, this idyl ends, as the protagonist must assume his father’s responsibilities—his ‘legacy.’ The flute conveys the light-heartedness and innocence that characterize childhood and adolescence. I chose to introduce the boys diving into the sea because growth often resembles a plunge—sudden, immersive, and transformative.

LG: Tell me more about the ‘look’ of the film.

EP: Using black-and-white cinematography allowed me to suspend the story in both time and space. It also helped to foreground the emotional core of the film—I wanted it to feel eternal rather than anchored to a specific period.

Additionally, the black-and-white aesthetic lends a graceful quality, enabling me to focus on the film’s harmonious elements—the beauty I wish to represent—rather than the violence and harshness often associated with peripheral areas. It also serves as a filter, a form of cinematic deformation through which I could engage with a story that has affected me deeply on a personal level.

Ciao, Bambino will screen at the Italian Cultural Institute at 18.30 on Wednesday 10^th of December. The screening will be followed by a Q&A lead by film critic Rita di Santo and the filmmaker.