Interview with Ulrich Seidl at the 64th Festival dei Popoli

Fred Film Radio had the privilege of sitting down with Ulrich Seidl, the visionary director behind the captivating film “Rimini“, presented at the 64th Festival dei Popoli in Florence. In this exclusive interview, Seidl unfolds the layers of his creation, providing a unique perspective on the characters and the city that serves as a backdrop.

The idea for ‘Rimini’ germinated from actor Michael Thomas, whom Seidl knew years ago as a singer. Richie Bravo, the central character, intrigued Seidl with his ambivalence—a man who appears a certain way on stage but grapples with daily survival challenges. Seidl found the character’s constant failures captivating, making Richie Bravo a compelling figure for a film.

The film was initially envisioned as a family drama, focusing on two brothers, their father, and the mother, who, though no longer alive, plays a significant role in their memories. The narrative spans three generations, with characters hailing from different eras, adding depth to the exploration of familial ties. The father, rooted in the Nazi era, introduces historical layers, allowing viewers to reconstruct their stories.

“Rimini” is just one part of a larger project, with another film, “Sparta” featuring the other brother (portrayed by Georg Friedrich) yet to be premiered.

Seidl’s choice of Rimini as the film’s setting offers a unique perspective on the city, contrary to common perceptions. He envisioned the city in winter, shrouded in thick fog, conveying a heightened sense of solitude. Rimini, a place of personal significance for Seidl from childhood, provided an intriguing backdrop with its captivating locations.

Villa Bravo, where the protagonist resides, serves as another compelling element. Once a place of joy, the villa now reflects Richie’s financial struggles, emphasizing the character’s journey and the inevitability of passing time.

Richie Bravo, fundamentally a solitary figure, mirrors the recurring theme of loneliness in Seidl’s filmography. Solitude, for Seidl, is intertwined with narratives of self-realization and the desire for love.

The interview also touches on Seidl‘s role as a producer, supporting young and talented directors exploring innovative cinematic languages. Seidl acknowledges the perennial challenge for young filmmakers to secure the necessary means and funds for their projects. He emphasizes the importance of institutions supporting new names and projects, fostering diversity in ideas and cinematic languages.

Reflecting on his cinematic influences, Seidl mentions filmmakers such as Pier Paolo Pasolini, Werner Herzog, and Luis Buñuel, who inspired him in his early career. While Rimini might evoke thoughts of Fellini, Seidl aligns himself more with Pasolini due to a shared affinity for a realistic approach.

Seidl concludes with advice for aspiring filmmakers, urging them to stay true to themselves, remain steadfast in their vision, and resist compromising their artistic integrity. He underscores the difficulty but ultimate necessity of forging one’s path, as those who persist and follow their unique narrative voices are the ones who prevail in the cinematic landscape.