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Nicola Luciani
From Castiglione delle Stiviere (Italy), in the province of Mantova.
Human Sciences High School and IED, majoring in Video Design.
Nicola, what inspired you to explore the complex dynamics between a mother and daughter, particularly in the context of failure and grief?
My team and I wanted “Happiness Makes No Tales” to be a deeply personal film, capable of telling something authentic about ourselves and our lived experience. This desire is reflected in the themes we address: the relationship with parents, fear of failure, and grieving. I chose to tell the story of a mother and daughter because in my life I am surrounded by female figures who played a key role in my growth. I wanted this influence to find space in the film, making it an integral part of the narrative. The theme of failure, in particular, grew out of our own fear of the future. The anxiety of facing the world, of building an artistic career and facing the uncertainty of this path is something we feel deeply, just like the protagonist Amanda. With “Happiness Makes No Tales”, we wanted to turn our fears and experiences into a sincere and universal story.
What were some of the biggest challenges in bringing this story to life, both logistically and emotionally?
Making this film was a journey full of challenges, as is the case with any film production. From the earliest stages we gave it our all: the months dedicated to writing were as exhausting as they were exciting. We analyzed every detail, constantly questioning our choices and making the most of all the time we had, often sacrificing moments with friends and family in order to arrive at the script we felt was perfect. The set was also an experience full of unexpected events and surprises. We personally took care of every location, painting the walls of Ada and Amanda’s house, blocking the way for car scenes, and even retrieving furniture directly from our homes. We didn’t stop even when faced with difficulties: when one of the actors fell ill, we found a replacement in record time, and in the rain we protected the equipment with every umbrella available. Emotionally, it was difficult to handle the responsibility of so many people for the first time, both the professionals working on the set and those who came to help us or supported us by lending their own items or working for us. But I believe that it is through this collective effort, putting our all into it, that we really achieve the goal. It was a huge challenge for me, the team and all the people who supported us along the way, to whom I am immensely grateful. But the best thing is to know that, in spite of everything, we had the time of our lives.
Were there any specific shots or scenes where you used cinematography to emphasize the emotional isolation of the characters? How did you, in the editing process, make sure to enhance them and showcase them?
Yes, absolutely, especially referring to the central scenes of our short film; after the quarrel with her mother, our protagonist is left alone to face both the family trauma and her new work reality that does not satisfy her. The cinematography of our short, says our director of photography, is intended to approach the style of the artistic current of Romanticism, where nature, light and atmosphere acquire a symbolic and representative value of the emotional states of the characters. In fact, Amanda’s isolation is constructed at specific times of the day reflecting the character’s despondency and sadness; such as at the end of the workday or at night on the bridge. We decide to stay close to her in this moment of despondency, in fact the camera stays very close and listening to her emotions. The scene in the shower encapsulates both our visiting point of comfort and support and the symbolic representation coming from romance; The shower and the water simulate de facto rain, a rain that weeps in place of our protagonist, leaving her helpless and passive to the situation. In the editing process, the juxtaposition of these value-laden scenes that did not need dialogue to be understood and felt, creates this very clear emotional situation that allows the cinematography to express itself to its full potential. The idea of creating in these scenes, as the days go by with the editing, helps to incentivize the character’s sadness and despondency.
