In Vermiglio, Maura Delpero returns to themes of identity, belonging, and the impact of nature, setting her story in a mountain village that embodies both isolation and connection. Through a mix of professional and non-professional actors, Delpero brings life to characters who, like the seasons, undergo transformations. The film’s cinematography and sound design immerse viewers in a world where silence, snow, and unfiltered emotion convey life’s complexity.
In this interview, Delpero reflects on the artistic process of Vermiglio, her approach to casting, and the powerful influence of the mountain landscape on her storytelling.
What inspired you to focus on themes of identity and belonging?
These are themes that genuinely interest me and evoke a lot of emotion. There’s something so powerful in watching people, especially young people, grow and search for who they are. Vermiglio explores this, showing the journey of becoming within the limitations of life and the world around us.
Can you tell us about the setting and how it contributes to the story?
The mountain setting is vital because it’s not just a backdrop; it shapes the characters. This isn’t a postcard view—it’s a story about mountain people, influenced by the mountain’s power. I also chose to capture all four seasons, to show how nature cycles through their lives. When spring arrives, for example, there’s this paradox: life begins anew, but dark elements come into play, creating a contrast.
How did you approach character development, especially in portraying their inner struggles?
I like to follow my characters organically without forcing their actions. I write with a listening mindset, letting them reveal themselves naturally in each situation. This gives them life and depth, letting me discover along with them.
How was the casting process for Vermiglio?
I love casting and working with actors because they bring the characters to life. Sometimes it’s challenging because you have an idea in mind that doesn’t match anyone you find. But with persistence, you discover people who fit the characters perfectly. In Vermiglio, the cast is a mix of professionals and non-professionals. I wanted people who would blend naturally with the mountain setting, so I chose faces that felt authentic, without the distraction of fame.
Filming with non-professional actors, in a mountain environment and with changing seasons, must have been challenging. How did you manage it?
It was incredibly challenging! We faced snow, babies, animals, and people who weren’t used to acting. But these difficulties added a rawness to the film that makes it feel real. You can sense the cold, the struggle—it’s all genuine and not staged in a studio. That authenticity, though difficult, was worth it.
What about the cinematography and sound design?
Mikhail Krichman, our cinematographer, truly captured the visual essence I wanted. We used minimal, deliberate shots to keep things simple and organic. In sound, we focused on natural sounds—no traditional soundtrack—to let the mountain’s voice speak. Sound bridges between scenes create a ‘music’ that guides the audience, immersing them fully in the environment.
The film doesn’t have a traditional soundtrack. Can you elaborate on that choice?
Exactly. We chose to use direct sound as much as possible and create a continuous «music of the film» through sound transitions, capturing the natural ambiance of the mountain. This connects each scene, making the audience feel as if they’re part of the environment. The absence of traditional music keeps it raw and lets the natural sounds of the village and mountain tell their own story.
What do you hope the audience takes away from Vermiglio?
I hope they feel the power of the mountain, of nature, and the strength it gives to those who live in it. Vermiglio is about identity and resilience, and I want the audience to reflect on how we are shaped by the places we inhabit and the struggles we face.
