Gianfranco Rosi: A Cinematic Exploration of Reality and Memory

Italian-American documentarian Gianfranco Rosi has spent three decades crafting films that delve beneath the surface of what is shown on screen. His 2010 critical breakthrough, El Sicario, Room 164, brought him widespread recognition. Rosi’s subsequent films, Sacro GRA (2013) and Fire at Sea (2016), garnered top prizes at the Berlin and Venice Film Festivals, respectively, and continued his exploration of marginalized lives and complex social issues. His latest work, Pompei: Below the Clouds, marks a return to Italy and a new visual approach, further solidifying his unique position in contemporary cinema.

From Cartel Hitmen to Refugee Crises: Rosi’s Early Work

El Sicario, Room 164 distinguished itself by presenting the confession of an anonymous hitman for Mexican drug cartels, filmed in the hotel room where he once tortured victims. The sicario’s face remained concealed, his story conveyed through drawings and narration. IMDb details the film’s focus on a killer employed by both cartels and the Chihuahua State Police. This was followed by Sacro GRA, a study of life around Rome’s orbital highway, and Fire at Sea, which juxtaposed the lives of residents of Lampedusa with the ongoing North African refugee crisis. His 2020 film, Notturno, examined the aftermath of war in the Middle East, portraying a landscape of post-traumatic pain.

Pompei: Below the Clouds: A Study in Destruction and Time

Pompei: Below the Clouds, released in 2024, continues Rosi’s thematic exploration, focusing on the city of Naples and the enduring impact of the eruption of Mount Vesuvius. The film employs a monochrome aesthetic, a departure from Rosi’s previous work since his 1994 debut, Boatman. Rosi described the use of black-and-white as a necessity to convey a sense of suspended time and the stratification of past, present, and future. Cinema Scope highlights Rosi’s intention to create a separation between present and past through this visual choice.

The Return to Black and White: A Visual and Narrative Choice

Rosi explained that working in black and white after 30 years required a re-learning of how to perceive reality. The advent of digital technology allowed him to view his subjects in black and white through the viewfinder, a significant advantage over his earlier work with 16mm film. Despite initial resistance from distributors, Rosi remained committed to the aesthetic, believing it was crucial for the film’s narrative. He recalled an anecdote from the early days of his career, where a television executive questioned the black-and-white presentation of his first film, mistakenly believing it was originally shot in color. Rosi views black and white as integral to life and reality, finding color within the shades of gray.

Archival Footage and Collective Memory

Inspired by a suggestion from filmmaker Pietro Marcello, Rosi incorporated archival footage into Pompei: Below the Clouds. He aimed to present this footage not as a separate element, but as a form of collective memory, screened within an abandoned cinema. This location, Rosi felt, resembled an archeological site, holding buried stories. He credits Marcello’s mastery of archival material, particularly his film Duse, as influencing his approach. The goal was to integrate the past into the present, creating a sense of continuity and shared history.

Documentary and Fiction: Blurring the Lines

Rosi resists traditional categorization of his work, rejecting the distinction between documentary and fiction. He emphasizes his commitment to reality, but acknowledges the importance of cinematic language in transforming that reality. He cites the influence of Roberto Rossellini, noting the need to constantly transform reality through the tools of cinema. Rosi’s films often compete in major film festivals alongside fictional narratives, a testament to his ability to transcend genre boundaries. He champions experimentation in documentary filmmaking, lamenting the increasing trend towards scripted and formulaic approaches.

The Importance of Immersion and Observation

Rosi’s process relies heavily on immersion and observation. He avoids pre-planning and scripting, allowing reality to guide the narrative. He emphasizes the importance of spending extended periods in a location, allowing stories to emerge organically. He also highlights the value of collaboration, particularly his work with composer Daniel Blumberg on Pompei: Below the Clouds, who created a soundscape that enhanced the film’s emotional resonance.

A Political Cinema of Observation

Rosi views his work as inherently political, not through explicit messaging, but through its invitation to viewers to engage with complexity and form their own interpretations. He believes that true politics lies in recognizing the nuances of the world, rather than offering simple answers. He sees Naples as a microcosm of global challenges, a “laboratory of the future,” and hopes his film encourages viewers to contemplate the enduring questions of memory, destruction, and the future of civilization.