Before Jonas Carpignano makes a movie, first, he must find it. His last two features integrated themselves into the terrain of a distinctly modern Italy and imposed a loose narrative on the real-world subcultures based there, with 2015’s “Mediterranea” joining a group of African refugees and 2017’s “A Ciambra” extending that same observant attention to a Romani enclave settled in Calabria.
He collaborates with nonprofessional actors and eschews strict scripting, advising them on the particulars of their character and allowing them to be guided by the authentic circumstances and dynamics setting the scene.
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