After the screening of “The Invisible Red Thread” at Adriano Cinema in Rome, we meet one of its producers, Silvestro Marino, to explore his artistic journey and the fate of the film he produced.
Silvestro, let’s talk about your artistic debut. How and where did it all start?
It started spontaneously, without a precise strategy, but with a strong attraction to storytelling and the language of cinema. I took my first steps by observing, learning on the job, experiencing the set as a place of discovery. More than a defined starting point, it was a process of encounters and insights that gradually led me to understand my direction.
We approach a moment of stagnation in your artistic activities. Something that maybe happens to many. Share with us your experience of artistic crisis and how you overcame it, returning to cinema.
The crisis was an inevitable, almost necessary passage. I found myself questioning the meaning of my work, asking what I really wanted to tell. It was a complicated, but also a very fertile period. I overcame it returning to the essence of cinema: the power of stories. I chose to focus on projects with true urgency, like “The Invisible Red Thread”, capable of uniting historical memory and emotional involvement.
Your path as an actor and producer: how and where are they connected and/or separate?
They’re two paths deeply intertwined, though different in nature. An actor experiences the set more instinctively, immersed in the character and emotions, while a producer has an overall strategic vision. In my case, these dimensions continuously dialogue: my actor experience helps me protect the artistic work, while being a producer lets me build the conditions for that work to exist.
What other skills, besides acting and producing, have you acquired on set over time?
Over time I’ve developed a broader view of the process of making movies. I’ve learned to read and develop a script, manage set dynamics, understand editing and narrative rhythm. But above all, I’ve gained the ability to communicate with everyone involved, from technicians to distributors, because making cinema today means combining creativity and organization.
What distribution will “The Invisible Red Thread” have?
We’ve chosen a distribution valuing the film and accompanying it over time. The release is planned in about 80 theaters nationwide, with a significant launch in Campania and Trentino, a path continuing through festivals and cultural events. For a film, the goal is not just to be seen, but to be discussed, because its value lies in generating reflection.
What is independent cinema for you? Do you plan to keep producing/making it as an actor and director?
Independent cinema represents a space of fundamental expressive freedom. It’s where necessary stories can be told, often far from commercial logic. For me it’s also a responsibility, choosing content with cultural and human value. I absolutely intend to continue on this path, as a producer and artist, believing in cinema that questions the present.
What can you reveal about your future artistic plans?
I can say the future will be in line with the path taken so far. I’m working on new projects tackling themes like memory, identity, and social transformations. I can’t go into details, but the intention is to shoot challenging films keeping in touch with reality and the audience.
We’re looking forward to hear from Silvestro Marino as soon as he produces a new movie. Meanwhile, we invite our readers to upcoming screenings of “The Invisible Red Thread”.
On the picture: Preview of “The Invisible Red Thread” by Andrea Bencivenga at Adriano Cinema, Rome
Olga Matsyna
