Davide Ferrario: A Maverick of Italian Cinema Reflects on the Crisis of Contemporary Storytelling

Davide Ferrario, an Italian film director, screenwriter, and author, has spent over four decades navigating the evolving landscape of cinema and storytelling. From his early work importing independent films by directors like John Sayles and Rainer Werner Fassbinder [1], to his own critically acclaimed films and novels, Ferrario consistently challenges conventional norms. His latest essay, The Complete of the End, offers a sharp critique of contemporary cinema and the changing relationship between author and audience in the age of streaming platforms.

Early Career and Influences

Ferrario’s career began with a foundation in Anglo-American literature [2], followed by a pivotal role in bringing independent American and German cinema to Italy in the 1970s and 80s. He was involved with the Cineforum in Bergamo, reaching a membership of six thousand in a city of 120,000, self-described as “organic intellectuals” [2]. This early exposure to diverse cinematic voices shaped his own artistic vision, emphasizing artistic autonomy and a blending of fiction with documentary elements [2].

From the Ritual of Cinema to the Age of Fragmentation

Ferrario identifies the introduction of videocassettes in 1975 as a turning point, disrupting the “sacred rite” of cinema-going. The ability to “own” and manipulate films – pausing, rewinding – fractured the communal experience and the established pact between filmmaker and audience [2]. He echoes Federico Fellini’s concern about the remote control, which Fellini termed “the firing squad,” as a tool for fragmentation [2]. Fellini believed that the ease of channel surfing diminished attention spans and the ability to be “seduced by a story” [2].

The Rise of Seriality and the Loss of Epic Narrative

This fragmentation has culminated in the current era of endless streaming content and the dominance of seriality. Ferrario argues that the epic narrative has been replaced by a continuous “how it starts again,” lacking a satisfying conclusion. Without an epilogue, life itself loses its measure [2]. The balance of power has shifted, placing the narrator entirely at the mercy of the audience, leading to a decline in directorial authorship [2].

Image Consumption, Alienation, and Democratic Life

Ferrario draws a disturbing parallel between the hyper-consumption of images and a decline in participation in democratic life. The ease of image capture and dissemination has led to a sense of alienation, where observation does not necessarily translate into engagement. He suggests that the convenience and costlessness of modern life can diminish the value placed on choices, including democratic participation [2].

The Shrinking Screen and the Loss of Emotional Capacity

The evolution of viewing surfaces – from the large screen of the cinema to the minor screen of smartphones – has further contributed to this shift. Ferrario contrasts the immersive experience of traditional cinema, which engaged the full potential of the eye, with the narrow focus of a smartphone screen, creating a private rather than communal experience [2]. This shrinking of the visual field, he believes, correlates with a decline in emotional capacity and a growing cynicism, as constant exposure to disasters desensitizes viewers.

A Glimmer of Resistance

Despite his bleak assessment, Ferrario identifies a potential glimmer of resistance in small, provincial theaters where viewing can once again become a physical and community experience [2]. He points to the work of the ‘Piemonte Movie’ association, promoting cinematographic culture in small towns, as a positive sign.

Reflections on Umberto Eco and the Future of Technology

Ferrario’s 2023 documentary, Umberto Eco: A Library of the World, further informs his critique of the contemporary moment. He recalls Eco’s warning that without a mediating authority, the internet would generate six billion individual truths, hindering shared understanding. He believes Eco would have been critical of artificial intelligence, recognizing that technological progress does not automatically equate to human improvement [2].