Giulia SOFIA paolucci, emotional colorful of talent

Elisa Nori
Apr 5, 2022
20 min read

I met Giulia through my dear friend (actor, voice actor and director) Francesco Primavera (you will also find an interview here on my site) also chosen by me, among other things, when I was looking for a girl to play one of the roles of Anima & Animus, a short film made by me with my co-director Filippo Borsini, for the National Academy of Cinema in Bologna.

Giulia is a professional girl with enormous empathy, with whom I immediately found myself in tune and it was a real pleasure to direct her ... It was as if she read my mind, she immediately understood what I wanted from her and what I wanted from hers interpretation, but above all it was so powerful his descending and hearing the part, that while we were on the set I myself was moved.

I said to myself: "Here she is ... She is ... Perfect. That's what I want."

These two aspects, together with her talent, were indispensable for the role that I had to assign to her, thanks to which we then stayed in contact and for this reason, as well as for the fact that there will be future developments related to Anima & Animus, I decided to interview her and explore with her the union between fashion and cinema.

I find that Giulia possesses a fundamental gift for an actress: knowing how to communicate and consequently excite.

You see ... Many actors are good but often fail to engage adequately from a sensory point of view. It is right to remember that cinema is primarily visual; Giulia has traits of beauty and charm that surely reach the viewer.

But in most cases it is not enough.

The actress or actor who really pierces people's hearts, as well as the screen, are the ones who can touch them.

Only in this way can it remain indelible over time.

Giulia's potential is strong, I was the first to have advised her to continue this path and work on it constantly because I am sure that she can achieve great results, and reach excellent levels.

The bond that is created on a set between actor / actress and director is something in my opinion indescribable, magical.

I am for the care of acting and I am aware that it is equal to the importance of the musical composition that will accompany the short film or feature film.

Actors who are poorly prepared or not inclined to an adequate exchange of ideas and a constructive relationship, for the entire duration of the work, are seen immediately but they are also those who leave immediately and are forgotten about.

With Giulia it was a continuous and satisfying connection ... I accompanied her in her emotional state step by step, because I felt it together with her. This harmony and understanding are rare, but capable of giving birth to the best working relationships and fruitful collaborations.

The attitude of those who act to identify themselves in different roles, to get involved by changing not only personality and way of acting, but also the very clothes they wear, leads us even more to deepen the scenic and stylistic aspect.

Fashion and Cinema, for actresses and actors have always been two very similar worlds because, as we have already seen in some of my previous articles, the stylists as this union strengthened, were venerated.

When they succeeded through their creations to transform them into glamor stars, allowing them to achieve the desired success, together with the stars they became stars themselves.

With the right clothes many movie stars have changed into real sex-symbols, so much so that the stage clothes were then reproduced in cheaper versions, to be sold to the public and to all those women who wanted to identify themselves and feel divas, even if only for a day.

In truth, fashion is everywhere, so it doesn't just embrace cinema.

Just think of the architecture itself, of which I have opened a section and of which you will see great projects, which intersects it ... it contaminates it.

One of the biggest names who is remembered as the fashion architect is Gianfranco Ferré, couturier of Christian Dior from 1989 to 1996, and founder of his eponymous maison.

Coco Chanel herself said: "Fashion is like architecture, it's all a question of proportions".

But we will talk about this in another article.

Now let's go back to Giulia, starting by deepening her career path through a short biography that will already make you understand how she herself has known fashion since she was a child.

Giulia's middle name is Sofia, not registered as her first name, chosen as her stage name for personal pleasure and a winning combination.

Giulia is currently graduating in linguistic-cultural mediation and has opened, for her delight and enthusiasm, a vegan cuisine channel, of which I leave you the contacts at the end of the article.

One of Giulia's first short films was Bambola, written by Sharon Orsillo and directed by Lorenzo Iannello, which currently has 1,369,944 views on YouTube.

(Link at the end of the article).

Born in Pisa, she lived her childhood and part of her adolescence in Marina di Pisa, where she grew up and to which she is very attached.

The approach to her art begins with the study of singing.

Giulia's beauty is crystal clear and tangible from an early age.

As a child she took part in photo shoots and fashion shows for brands such as Roberto Cavalli, Alviero Martini, Moschino and Benetton, participating in television commercials, including "Amplifon" and some of toys for GIG, such as "Tante Gambe" and " Baby Sweet Love ".

Later, he decides to stop for study reasons.

Once she graduated from high school and started university, she approaches acting which soon becomes a great passion.

After taking part in some short films, including "SIGNUM - The roots of a brand", directed by Giuseppe Ferlito

her her film career began in 2015 with the film "Professor Cenerentolo" by Leonardo Pieraccioni, in which she plays the character of Maria.

A few months earlier she made an appearance in the film "InFernet", directed by Giuseppe Ferlito.

ree — Backstage of InFernet, together with actress Susanna Mollica and actor Vincenzo Puzziferri

ree — Giulia with actor Andrea Montovoli on the set of InFernet

In 2017 she is the protagonist of the docu-fiction "Mary Magdalene - The Secrets Revealed", directed by Luca Trovellesi Cesana for Focus.

A gallery below, with the shots taken by the still photographer Paolo Bassani of Sydonia Production.

In the summer of 2019 she takes part as co-star in "Apollo Jump", a black comedy set in various places in California, directed by Matteo Saradini.

Coming into contact with Giulia is pure electricity. To continue to feel the incessant shock that is capable, through a constant energy of involvement with the viewer, to transmit ... I approach, without fear, more to her, charging myself positively enough to

feel the same intensity and excitement that one feels in front of the moment of high tension on the big screen ... I'm sure that at the end of the interview her magnetism will be dazzling!

Giulia, as a child you participated in photo shoots and fashion shows for big brands. How did you experience fashion in that period and how do you live it now?

With sincerity I can tell you that as a child I always lived everything with carefree, as if it were a game (smiles). At the same time, however, working with professionals in the fashion sector taught me what discipline is, and I believe that, at least in part, it then helped me, as an older one, when I decided to undertake the path in the acting field. .

How important in your opinion is the attention and meticulousness given to the clothes and costumes on a set now that you are an actress? Have you found yourself wearing clothes that you remember with particular pleasure?

In my opinion, costumes are a fundamental element, even more so if we are talking about a project set in non-modern times. Let me explain better, the stage clothes, as well as obviously characterizing the characters and creating a suggestive atmosphere that recalls the era in which the work is set, certainly help the actor to immerse himself in the character.

Speaking in particular of my personal experience, I had the pleasure of taking part in projects whose characters required particular costumes: for example, in the short film "SIGNUM - The roots of a brand", or again, in the docu-fiction "Maria Maddalena - The Secrets Revealed ”I dressed in the role of Mary Magdalene, in fact.

Of this last experience, (smiles), in particular, I remember that in one scene, the one at night, on the beach, I felt a bit cold (laughs), the dress was light, but, despite this, I held tight. Luca Trovellesi Cesana, the director, very cute (smiles), was also a little worried about me that maybe I might feel bad, in fact between one takes and the other he asked the assistants of the technical department to assist me with blankets to keep me warm, but I, stubborn as I am - and perhaps even a little masochistic (laughs) - reassured everyone to go on. “I can do it, I can do it, don't worry. Thanks anyway!". I will be strange, but I see it this way: life is certainly not all pink and flowers, on the contrary. And given that cinema should be a form of representation of life - according to many, perhaps, the most realistic -, the actor on stage MUST also suffer, it is right that he suffers, especially if something happens naturally on stage. Indeed, it often happens that when that something happens - as for example. an obstacle -, we should be grateful, because it is precisely in these situations that some epiphany could happen on the set, something that could make the scene, actions and interactions more realistic, authentic, real. And it is only at that point that the viewer believes what he sees, lets himself be carried away, dreams, that's it.

It also happens that the right clothing is accompanied by the study of a particular discipline, such as eg. dance. In my path this has happened for “APOLLO JUMP”. When I arrived in Los Angeles, I remember that director Matteo Saradini, before filming, took us for a few days - me and the other 3 actors involved in the dance scenes - to learn a few steps for a choreography of Lindy Hop, a particular type of swing dance.

The films that you consider most representative and impressive for the commitment, precision and accuracy reserved for clothes and costumes.

It is not easy, there are many. I could write you a very long list of the ones I admire, so let's tell you the first ones that come to mind (laughs):

· Colleen Atwood, especially in "The Silence of the Lambs" (1991), in "Memoirs of a Geisha" (2005), in "The Tourist" (2010), or in "Alice in Wonderland" (2010). Ah, by the way, those who know and appreciate the style of director Tim Burton owe a lot to this costume designer, as Atwood has worked in many of his films, including "Edward Scissorhands" (1990), "Big Fish "(2003)," Sweeney Todd "(2007)," Alice in Wonderland "(2010)," Big Eyes "(2014) and" Dumbo "(2019).

· Amy Westcott in “Black Swan” (2010). The wonderful costumes of actress Natalie Portman were created by Kate and Laura Mulleavy, founding sisters of the 'Rodarte' brand.

· Irene Sharaff, who dressed up actors and actresses such as Elizabeth Taylor in “Cleopatra” (1963).

· Sammy Sheldon in "The Merchant of Venice" (2004).

· As well as the designer Jean-Paul Gaultier in the science fiction film "The Fifth Element" (1997).

· Sandy Powell in "Shakepeare in Love" (1998), "The Aviator" (2004), "The King's Other Woman" (2008), "Shutter Island" (2010), "The Wolf of Wall Street" (2013 ), “Carol” (2015), or “La favorita” (2018).

· But also costume designers of all the "Star Wars" films, and the most recent series related to them, starting with John Mollo and Michael Kaplan, up to David Crossman and Glyn Dillon.

Among the Italian costume designers who have certainly left their mark in cinema internationally and who, at the same time, I respect a lot there are certainly:

· Piero Tosi, costume designer of the director of Luchino Visconti, in "The White Nights" (1957), in "Il Gattopardo" (1963), or in "La traviata" (1982) by Franco Zeffirelli.

· Milena Canonero - pupil, among other things, of the master Piero Tosi - in "A Clockwork Orange" (1972).

· Maurizio Millenotti, who struck me in the film "The legend of the pianist over the ocean" (1998).

· Danilo Donati in "Il Casanova" (1976), or in "Life is beautiful" (1997).

· Gabriella Pescucci in "The Chocolate Factory" (2005).

· Daniela Ciancio, costume designer of "Il divo" (2008) and of "The great beauty" (2013) by Paolo Sorrentino.

· Carlo Poggioli, another costume designer by Paolo Sorrentino who has participated in films such as "Youth - La giovinezza" (2015), "The New Pope" (2020), "LORO 1" (2017) and "LORO 2" (2017) and TV series such as “The Young Pope” (2016).

· Among the youngest and at the same time well-known in recent years in Italy there is certainly Massimo Cantini Parrini, whose stylistic choices have particularly struck me in the 3 films by Matteo Garrone "The Tale of Tales" (2015), "Dogman "(2018) and" Pinocchio "(2019).

I apologize to those who have not been named, but already now it is in my thoughts and I regret not having written it (smiles).

What do you think has given fashion to cinema and cinema to fashion? What could both sectors improve in their collaboration?

Well, cinema and fashion are somehow complementary to each other. It is no coincidence that Hollywood is the most important catwalk for a designer: the clothes that are worn by the characters who arrive on that catwalk consequently become the trends of the year. Behind each character there is a stylist who thinks and produces a dress that suits his body and then proposes to wear it on special occasions. The result? Perfection.

I believe that from the beginning cinema has represented - and still represents - for fashion a great opportunity for visibility, a bit as if the cinema screen were an animated showcase able to show the creations of the tailoring ateliers all over the world. . At the same time, it must be said that cinema has always needed fashion, in all its beauty, its elegance and its different styles.

As you well know, many designers of the past and present have contributed thanks to their creations to transform many women, but also many men, into real stars of glamor and sex-symbol. Are there any actresses from the past or present whose style you admire?

Beyond beauty, which, in my opinion, is very subjective, the first element that strikes me in an actor or actress is the look. For me, the look is certainly the key element. Since cinema is mainly made up of close-ups and very close-ups, when in front of him there is an actor with a convincing, confident gaze, the viewer lets himself go and gets to dream.

For this reason, among the Hollywood stars I follow and who are a source of inspiration for me, a little for their style, a little for their beauty and elegance, a little for their way of dominating the scene, there are definitely: Julianne Moore, Rachel Weisz, Sharon Stone and Charlize Theron; Nicole Kidman, Scarlett Johansson, Natalie Portman, Alicia Vikander, Anne Hathaway, Whoopi Goldberg, Helen Mirren, Jane Fonda, Cate Blanchett, Marion Cotillard, Jennifer Lawrence, Adèle Exarchopoulos, Léa Seydoux, Margot Robbie, as well as of course the one and inimitable Meryl Streep. But also Monica Vitti - who passed away recently -, Anna Magnani, Sophia Loren, Audrey Hepburn, Elizabeth Taylor, Ingrid Bergman, Greta Garbo, Marilyn Monroe. Finally, Kasia Smutniak, Miriam Leone and Virginia Raffaele.

As for the actors, the list is long too (laughs): Leonardo DiCaprio, Liam Neeson, Jeremy Irons, Robert De Niro, Al Pacino, Anthony Hopkins, Heath Ledger, Joaquin Phoenix, Robin Williams, Christian Bale, Benedict Cumberbatch, Michael Fassbander , Sean Connery, Dustin Hoffman, Sean Penn, Johnny Depp, Will Smith, Tom Hanks, Morgan Freeman, Willem Dafoe, Gary Oldman, Keanu Reeves, Paul Newman, Jack Nicholson, Clint Eastwood, Bradley Cooper and Denzel Washington. But also Sergio Castellitto, Giancarlo Giannini, Roberto Benigni, Pierfrancesco Favino, Tommaso Ragno, Carlo Verdone, Valerio Mastandrea and Filippo Timi. Finally, but not for talent, Alessandro Borghi and Luca Marinelli. Finally, the timeless Charlie Chaplin, James Dean, Marlon Brando, Henry Fonda, Massimo Troisi, Marcello Mastroianni Vittorio Gassman, Alberto Sordi, Totò, and Gian Maria Volonté.

Giulia, on the other hand, what do you prefer to wear? Are there outfits, colors that attract you compared to others? Do you have a style that most identifies you or do you like to experiment?

Well ... in reality, honestly, I am very "fluid", it depends on the days, what I have to do and, sometimes, also on the mood (laughs). Red, my favorite color, is always there. In winter I prefer black, green, brown, or white. In the summer, more floral patterns and absolute white. However, in general, I really like dresses, skirts, high-waisted trousers, turtlenecks, boots, heels. However, there are times that I prefer more comfortable and sporty clothes, such as sweatshirts and pants, even baggy at times. As well as sometimes I make up and sometimes not. In short, it depends on the mood (laughs).

I believe that to feel good about yourself it is important, indeed fundamental, to feel free, to do what you feel, without being afraid of being judged. So, even before that, one should never judge oneself (smiles).

The image for an actress counts a lot, even if we know that it is her preparation that really makes the difference. Right now, who are the directors and stylists who, in your opinion, are capable of combining these two aspects, that is appearance but also substance?

Well, I think it goes without saying that image matters a lot in today's world. For better or for worse. But this is true in all areas, not just in cinema. Even a restaurant, for example, to promote itself entrusts advertising campaigns to very popular characters on Instagram or TikTok. Characters who live on the image, but even there, the personality is that "something" that makes the difference.

Even more so in the field of cinema. Even if the appearance, the image of an actor (or actress) plays a very important role - I don't want to be hypocritical, and let's not forget that cinema was born precisely with images (think of silent cinema) - I believe that the substance (ie the personality, the training, the style and many other factors that make that actor his uniqueness), is, in fact, that "something" that makes the difference to leave a mark, your mark, in the soul of who is watching you. On stage, a bit like we all do in life. In fact, we are all a bit actors, only not everyone is aware of it (laughs).

As for your question, since I mainly watch films by international directors, I can say that it has never happened - at least for now - that I have been disappointed, for example, by the directors I most admire, such as for example. Tim Burton, Clint Eastwood, Spielberg, Nolan, Tarantino, but also Sorrentino, Garrone, Tornatore and Castellitto, in Italy. The combination of appearance and substance is certainly fundamental in their choice of actors.

The same goes for fashion. To give some examples: Giorgio Armani is an artist whose style is and will always be (and forever) remembered for his great class and elegance. Features that make each piece of him unmistakable, unique. The same goes for Domenico Dolce and Stefano Gabbana, with their Dolce & Gabbana, whose patterns I love - especially the floral ones; in fact, their creations are inspired by the suggestions that characterize the Mediterranean style: the love for art, in particular for the Baroque period and for films from the 50s / 60s.

What are the characters you would like to play, also allowing you to completely change your look, to enrich your career path? Do you have some as a secret dream?

In general, I love science fiction and fantasy films: since I was a child I have always been fascinated by what has to do with magic, with superpowers; I wish I could be the new superhero of the “Avengers”! (laughs)

But as a genre, I also really like drama and psychological thrillers.

Some of the roles that I love, in which I find myself partly and partly because they intrigue me, fascinate me a lot are: Hermione Granger ("Harry Potter"), or Katniss ("Hunger Games"), but also Beatrix Kiddo ("Kill Bill ”) Or Lisbeth Salander (“ Millennium: Men who hate women ”). Also, the wonderful Charlotte (“Lost in Translation”), Kathryn Bolkovac (“The Whistleblower”) with her strong principles. More recent characters Clarke Griffin ("The 100") and the new jedi Rey Skywalker ("Star Wars").

And many others, but the list is long, so let's stop here otherwise I'll bore you (laughs).

I would like a small summary of what it feels like to be able to use this beautiful time machine that is cinema, which transports you between different points of space, both in the direction of the past and in the direction of the future, making you instantly find yourself in the tangible epoch or imaginary of the screenwriter, each time taking on the role of someone to discover, to understand, to hate or to love ...

As Monica Vitti said, "Art is representation. For me to represent is to live more. […] It is to add. Add emotion to emotions, passion to passions ”- and I'm not going ahead because by Monica Vitti and I will answer this question better later.

I will formulate my last question to you in the exact same way I expressed it to your colleague Eleonora Siro, on the set Anima & Animus ... I find it interesting to see both of your answers. Being an actress is an experience that leads you to wear more "masks". Fashion supports this, giving the possibility to wear the clothes that confirm that mask ... So agree with me, that it is easy to access multiple identities ... This can, however, easily lead to losing one's own. What do you think is the secret of an actor or actress to first and foremost maintain solidity and consistency with their skin?

I thought a lot before answering this question, not at all simple, not so much because I had never thought about it, on the contrary. More than anything else because I think it is easy to give advice in this area. Each person is different, has a different experience, has different principles. Therefore, I believe certain situations must be experienced on your skin, even to get to know each other. Then instinct will guide you, the sixth sense, it is important to listen to that little voice inside you that will tell you "Go, go for it! Just do it! It's your chance ”, or the same one that will yell at you“ No, absolutely! I don't recommend this to you ”.

In any case, each profession has its own difficulties, certainly, however, it must be said that, in fact, the actor in his path is much more naked on an emotional level.

Unfortunately, the viewer sees a project only when it is completed, so they are often not aware of the fact that behind it there is a huge, very long and very hard work by the whole cast, artistic and technical. Specifically, often those who look at the finished work do not have the curiosity to know what is behind the actor's work. For my way of seeing and for my experiences I believe that the human being is a kind of malleable sponge, an object that constantly absorbs what happens around it and is capable of molding itself, both in terms of behavior and emotions, both of objectives, depending on what he experiences and how he experiences that something. Here, in cinema, just as the human being is in life, the actor is that sponge. Studying cinema and the work of the actor helped me to reflect deeply on life, and on how essential every living being is. With their own experiences and roles. And it's wonderful, because we can learn from anyone, anytime.

A small example: every morning all of us - including the richest and most powerful men in the world - can leave the house and easily reach the office with our car or maybe walking, but how many times, honestly, have we stopped to think that everything is this only possible thanks to the incredible work of the ecological operators, who work tirelessly for hours and hours to keep our streets clean? Yes, I know, we all pay taxes to make this happen, but the same goes for doctors. In fact, even a doctor is paid by the state. However, in the common scenario it is easier to imagine thanking a doctor for their service rather than an ecological operator. Yet, they are both fundamental to the life of all of us. It would be nice to thank them every now and then and give them a smile. Give it to anyone we meet on the street. A smile, as well as a "thank you", costs nothing to those who do it, but it can be worth a lot to those who receive it.

I repeat, studying cinema helped me to reflect. Not that I didn't do it before, quite the contrary. However, along my path I found meaning in many questions that I constantly asked myself but which never found an answer. I also think that if we take everything for granted, in the long run, we end up not being surprised by anything anymore, and never being happy. Instead, I believe that growing up it is essential to keep that "child side" that is inside each of us. Preserve it. Have fun, smile, dream are the key. And cinema helps a lot in this.

A phrase that for many will certainly be taken for granted, trite and withdrawn, but which I often repeat to myself is this: “Happiness is made up of small perfect moments diluted over time. For this reason, those who think it are different do not see it ”.

Anyway, let's say that since I embarked on this artistic path, my only real goal has always been to feel like an actress especially for myself. Simply because she made me feel good from the first moment, from the first falls, as it is something cathartic. Then came the others. And I believe that this is right, as I see it, because only if you feel good about yourself can you feel good with others, and ensure that something beautiful, positive can be born.

The only advice I can give, therefore, is to remain yourself. Beyond dreams and goals, I have always promised myself to put my person, Giulia, first of all. With her principles, her ideals, her strong belief.

So, I believe that if in the future, unfortunately, I decide to stop this path and take another completely different one, I will be happy all the same. No regrets. No remorse. I will always be able to walk with my head held high, with a clear conscience and the desire to live, to smile, always.

Excuse me Elisa, I realize that I have opened many "roads". I must have made you lose the thread of the conversation. I try to conclude, come on ... The way I lived it, I believe that the actor, and the artist in general, feels something strong within himself, something that is not necessarily capable of defining. There are those who call it a vocation and those who, on the other hand - as in my case - simply go in search of what it can be. As Monica Vitti said, "Art is representation. For me to represent is to live more. It is to idealize, to transfigure, to add. Add emotion to emotions, passion to passions. Where the representation ends, reality ends ”, for this reason an actor feels the need to act.

Art is also synonymous with freedom, and, being able to entrust ourselves first of all to our "feeling", it gives us the opportunity to be sincere. Always Monica Vitti: “By acting you can do everything, say everything, become everything; you can never get old and be who you want to be ".

This is also why I think training is very important. Getting to know each other thoroughly, learning to manage emotions. Therefore, not only technical, but also a knowledge tool. In this way we will be able to know our most hidden fears, take note of our limits, and even try to overcome them, at times. We will be face to face with ourselves. We will also be able to address "outstanding" issues with people from our life, our past or our present, issues that for some reason have remained unresolved. This is the magic of acting, of cinema. This is what fascinates me most. Few certainties. You can never take anything for granted. It is a constant search, a journey during which you never stop learning.

But for all this to happen, I repeat, it is essential to remain yourself, to recognize yourself.

Lighting and inspiration are not lacking after Giulia's clear words.

They act as a conductor, radiating without limit and allowing me to conclude but also final considerations.

Giulia is a girl with a high soul, respectful of all forms of life and consequently with a great connection with what surrounds her, especially with nature.

Nature is a teacher of ethics and balance, two aspects that the human being struggles to possess and even when he joins them, he is not always able to internalize them.

For Giulia, this is also synonymous with mental discipline, with the selection of what is really useful to us as living beings, often greedy and maniacs of excess.

To make the master of our choices is an education, a society and information that make us completely lose sight of what surrounds us, making us more centralized rather than respectful and altruistic.

The point is that man believes himself to be an absolute predator, capable of choosing also for what interacts with him, when he does not realize that he is inside a much more glorious and colossal mechanism, which governs this tiny planet in one. infinite space.

His apparent strength and thirst for power could be extinguished at any moment.

I quote the words of Steiner character in the film La Dolce Vita:

"Sometimes at night this darkness, this silence weighs me down. It is peace that frightens me, I fear peace more than anything else: it seems to me that it is only an appearance and that hell hides. my children tomorrow, "the world will be wonderful" they say, but from what point of view if a phone call is enough to announce the end of everything. successful work of art, in that enchanted order ... We should be able to love each other so much that we live out of time, detached ... [laughs briefly] Detached ... "

Giulia teaches us through her words to make the purest and most noble side shine, reminding us first of all not to fail in respect for ourselves, especially given the compromises that the surrounding world imposes or offers us.

Let positive energy flow and then direct it and direct it in art, creativity and in the case of Giulia in acting. Many people draw strength from contact with natural sources and then steer their ship to the ports of success.

The childish side is basic as she too she affirms, to shape the internal light and radiate it to others ... not artificial light which is a bad imitation of the authentic one.

The natural light of the human essence smells of truth.

Giulia's eyes don't lie, a fundamental part for an actress as a means of transmitting mastery and that's why in my point of view, she arrives like an electric discharge that leaves pleasant chills.

As in Cinema it is important to remember everything behind a product, the immense work and coordination of several people to make it tangible, even in the single individual the background of his being is important, because they will greatly influence the performance. the final.

This allows you to differentiate a trivial reel of a few seconds, which anyone can do with a mobile phone, from a film that first requires a written part and then a practical / technical part of high thickness and quality.

In fact, Fellini stated: "Cinema is the most direct way to enter into competition with God."

There are films that you could watch over and over again, never getting bored, never needing to look elsewhere or allow yourself distractions ... easy when something isn't all that absolute or sensational. If art as Giulia remembers is freedom, a way to overcome reality then ... everything fits. The earthly reality is overcome, the boundaries of the absolute are crossed.

This is possible with the complementarity between two arts, Fashion and Cinema, a combination of physical but also psychological presence, of dazzling beauty and brilliant talent expressed through that physicality that makes us earthly beings but at the same time divine ... ethereal.