Margherita Ferrari on Working With Paolo Sorrentino on Directorial Debut ‘Föa — Once Upon a Future’: ‘He Helped Me Pursue and Protect My Vision’

Margherita Ferrari, a fresh face on the international cinema scene, arrived at the Busan International Film Festival this week to promote her debut feature, “Föa – Once Upon a Future”. The film, a daring blend of coming‑of‑age narrative and political allegory, unfolds against the tumultuous backdrop of Genoa in July 2001, when the G8 summit sparked violent confrontations between anti‑globalisation demonstrators and police forces. Ferrari’s ambitious project has already attracted attention for its bold visual style and its willingness to interrogate a pivotal moment in recent Italian history, positioning her as a noteworthy new talent..

The story follows 17‑year‑old Luca, a disaffected teenager whose fascination with digital media collides with the real‑world upheaval surrounding him. As protestors storm the city’s streets and authorities impose curfews, Luca navigates friendships, first love and an emerging sense of civic responsibility. Ferrari employs a nonlinear structure, intercutting Luca’s online escapades with the gritty footage of the G8 clashes, creating a juxtaposition that highlights the tension between virtual escapism and tangible social struggle..

Critics at the festival have praised the film’s capacity to make a personal coming‑of‑age tale feel inseparable from the larger political canvas. The production marks the first time acclaimed director Paolo Sorrentino steps behind the camera as a producer. Known for his lyrical, baroque storytelling in films such as “The Great Beauty” and “Youth”, Sorrentino’s involvement was initially a curiosity for many observers..

In conversations on the festival’s press stage, Ferrari explained that Sorrentino’s role extended far beyond financial backing; he acted as a mentor, encouraging her to retain the rawness of her vision while offering practical guidance on navigating a complex shoot that spanned both staged sets and real‑time protest footage. “Paolo helped me pursue and protect my vision,” Ferrari said, her voice steady despite the crowded hall. “When I first pitched the idea, there were doubts about whether a debut director could handle such a politically charged narrative..

He trusted me to stay true to the emotional core of Luca’s story, while also ensuring we had the resources to capture the authenticity of the G8 events without sensationalising them.” Her remarks underscored a collaborative dynamic that blended Sorrentino’s seasoned sensibility with Ferrari’s youthful perspective. The film’s visual language reflects this partnership. Cinematographer Luca Di Lorenzo, a long‑time collaborator of Sorrentino, employed a palette of muted earth tones punctuated by neon glows from Luca’s digital devices, symbolising the clash between analogue reality and the burgeoning online world of the early 2000s..

The camera often lingers on the decaying industrial architecture of Genoa’s port, framing the city as a character in its own right. In scenes where protestors confront riot police, the handheld footage feels deliberately unsteady, echoing the chaos that Ferrari sought to portray from a teenager’s point of view. Beyond its aesthetic choices, “Föa – Once Upon a Future” about collective memory and the politics of representation..

By setting the narrative during the G8 summit, Ferrari confronts a period that remains contested in Italian public discourse. Interviews with survivors of the clashes were incorporated into the script, and archival news clips were woven seamlessly into the fictional storyline. This methodological blend of documentary and drama has sparked debate among scholars who argue that the film may blur the line between factual recounting and artistic licence, yet many applaud its effort to give voice to a generation that grew up in the shadow of those events..

Festival attendees noted the film’s deft handling of language as well. While the primary dialogue is in Italian, portions of Luca’s online interactions appear in early‑era internet slang and fragmented English, reflecting the globalised nature of digital culture at the time. Subtitles are crafted to preserve the rhythm of these exchanges, allowing non‑Italian audiences to experience the linguistic hybridity that defines contemporary youth communication..

This attention to linguistic detail has been lauded as a subtle yet powerful tool for immersing viewers in the period’s zeitgeist. The thematic heart of the film lies in Luca’s evolving understanding of agency. Early in the narrative, he records short videos of street art and uploads them to nascent video‑sharing platforms, believing that virtual exposure equates to real‑world impact..

As the protests intensify, Luca witnesses the limits of online activism when physical danger escalates. Ferrari uses this arc to explore the broader societal shift from analog protest to digital mobilisation, a transition that has only accelerated in the years since. The film thus serves as a time capsule, capturing a moment when the internet first began to reshape political engagement..

Critical reception at Busan has been overwhelmingly positive, with several jurors citing the film’s “courageous storytelling” and “meticulous craftsmanship”. The jury’s commendation highlighted Ferrari’s capacity to balance personal narrative with historical gravity, a feat rarely achieved by debut directors. Meanwhile, Sorrentino’s involvement has been described as “a seal of artistic integrity”, reinforcing the notion that his reputation can elevate emerging voices without eclipsing them..

The synergy between the two filmmakers appears to have resonated with audiences seeking nuanced portrayals of recent history. Financially, “Föa – Once Upon a Future” secured distribution deals with several European art‑house circuits even before its festival premiere, a testament to the market’s appetite for politically resonant cinema. Producers have indicated plans for a limited release in the United States, targeting cities with strong independent film communities..

The film’s modest budget—reported at around €4 million—was carefully allocated to secure.