Introduction

Italian independent cinema, to which this timely anthology is devoted, is a doubly problematic construct. Such complexity derives, on the one hand, from the very notion of what constitutes independent cinema and, on the other hand, from its significance within the Italian context. Independent cinema is universally described by means of what may be named an ‘oppositional paradigm’. The terms of the opposition vary according to the relevant national and historical contexts, but also according to the filmmaker's individual beliefs and sensibilities. In Italian discourse, however, there is a recurring motif that film scholars, critics, practitioners and filmmakers themselves use when describing independent cinema. This motif presents Italian independent cinema as a strong political and militant practice, the values and purposes of which are associated with those of the historical anti-fascist movement of the Resistenza. In the second half of this chapter I present and discuss this very aspect, which appears to be consistent with an Italian-specific theoretical phenomenon, known as ‘Italian difference’. This latter notion has been conceptualised in recent years by philosophers of the so-called ‘Italian theory’, and particularly by Roberto Esposito. That which is being argued for is the existence of a specificity to Italian thought in general, which lies precisely in political conflict and antagonism.

The analysis of the present case study, which is presented in subsequent sections three, four and five, argues for a changed perspective. We proceed with a review of Italian independent filmmaker Mirko Locatelli's activities, both ‘off set’ and ‘on set’, an analysis of his cinematic style and reference models, as well as a discussion of his ideas as an Italian citizen and as an artist. All of the preceding points would suggest that the political component of his cinema ought to be interpreted more in terms of his ethical and aesthetic commitment to a coherent and authentic artistic expression. The case study mostly draws on a semi-structured interview with screenwriter, filmmaker and producer Mirko Locatelli and screenwriter and producer Giuditta Tarantelli, conducted in October 2016.

This conceptualisation of the filmmaker's peculiar political, social and cultural role goes back to the ‘Golden age of Italian cinema’ and the prestigious tradition of auteur cinema, both national and European.