With a deep commitment to artistic integrity, Italian filmmaker Damiano Rossi has carved a unique path in contemporary independent cinema. Since 2019, he has explored various genres, from psychological horror (TALITA l’abbandono, THE LIMINAL SPACE, LIL) to evocative music videos (HERE TO STAY, SMELL OF PAIN-T), all unified by a profound visual language and a recurring focus on the complexity of the female figure. Driven by the belief that cinema should provoke thought rather than provide definitive answers, Rossi seeks to craft films that challenge perceptions, evoke introspection, and reveal personal truths in the viewer. His meticulous attention to imagery, sound, and lighting reflects a philosophy where storytelling extends beyond narrative, embracing an experience that lingers in ambiguity and emotion. In this interview, Rossi shares insights into his creative process, the inspirations behind his work, and the unwavering artistic vision that defines his cinematic journey.

1.- Your journey into filmmaking began in 2019 out of what you describe as an “inner necessity.” Can you recall the precise moment or experience that made you realize cinema was your medium of expression?

At a certain point, I realized that the music and lyrics of the songs I was writing could not fully convey everything I wanted to express. That’s where the need arose to present images capable of stimulating deeper introspection in those who would watch them.

2.- Your work explores a wide range of genres, from horror to music videos, yet the female figure remains a central theme. What draws you to this subject, and how do you see it evolving in your future projects?

The female universe is a fascinating and, in some ways, mysterious theme—at least from a male perspective. However, I believe it is important to try to approach and, as much as possible, understand it more deeply in this historical context. It will be interesting for me as well to discover where this exploration will lead me in the future.

3.- You emphasize the power of imagery over direct storytelling, encouraging viewers to find their own truth. Can you share a particular visual or sequence from your films that you feel encapsulates this approach most effectively?

In THE LIMINAL SPACE, for example, there appears to be a mysterious female figure, Sofia Callegaro, who seems to threaten the protagonist, represented through a first-person camera perspective. In reality, the female figure and the protagonist are the same entity, manifesting in two different aspects. This is just one example among many.

4.- Horror, in particular, is a genre often associated with shock and fear, yet your films seem to delve into a more psychological and philosophical dimension. What does horror represent to you, and how do you approach it differently?

Horror should not simply scare—it should create discomfort and tension. Relying on jump scares is all too easy, yet lately, it seems that the quality of a horror film is measured by this factor alone. I completely disagree with this interpretation.

5.- You mention a preference for raising questions rather than providing answers. Have you ever been surprised by an interpretation of your work that differed greatly from your own intent?

I would be happy with any interpretation of my work. Unfortunately, delving into multiple layers of meaning within my films seems to be challenging for many. I don’t want to assign excessive importance to my work, but I do wish for a bit more effort from those who watch it.

6.- In an industry that often prioritizes accessibility and mass appeal, you’ve chosen a more introspective and uncompromising path. What has been the most rewarding aspect of this artistic integrity, and what are the biggest challenges?

The fact that in many festivals where I have participated, the introspective and conceptual aspects I intended to convey have been recognized. Even an interpretation that is far from my original intent is something I deeply appreciate.

7.- Your films are deeply atmospheric. How do you approach the relationship between sound, music, and imagery to create such an immersive experience?

The setting is fundamental, as are the lighting choices and facial expressions. Aside from music videos, which emphasize lyrics and music, the soundtrack of my films should serve as an almost minimalist soundscape. My priorities, in order, are: image, sound, and the use of light.

8.- The concept of “liminality” is present in your work, especially in ‘THE LIMINAL SPACE.’ What fascinates you about these transitional states, and how do they manifest in your storytelling?

Exploring deep states of consciousness is a fascinating and, in some ways, dangerous topic. There is a risk of starting from an already unbalanced state and ending up with presumed truths that are not actually truths. For this reason, I prefer to ask questions rather than provide answers.

9.- As a filmmaker, you are shaping a body of work that invites introspection and contradiction. If someone were to experience your films for the first time, what mindset or feeling would you hope they bring with them?

Everyone should start from their own personal experience. There is no specific method to approach my work—only an invitation to search within oneself and perhaps bring out unknown aspects of one’s being. That would be a very welcome gift to me.

10.- Looking ahead, is there a dream project or collaboration that you aspire to, or do you find the joy lies more in the process than the destination?

Frankly, I do not aspire to walk on a red carpet, nor do I actively pursue making that happen. However, I do not deny that every time an important aspect of my work is recognized, I feel a sense of joy and a certain healthy pride. I am open to many possibilities, but I need to have total control over my work and would find it difficult to accept any kind of interference.