BISFF Correspondence 通信计划
This program involves conducting brief email interviews with the directors of the international films featured in the festival, in lieu of the traditional Q&A session that follows the screenings. Through this program, we hope to provide a platform for filmmakers to discuss their work and share their insights with our audience in China.
为了跨越种种障碍，开辟更多交流空间，我们设置了“BISFF Correspondence 通信计划”，对部分国际单元的参展作者进行系列访谈，这些访谈将在作品放映后发布在联展各个媒体平台。
Padre Z.｜Z.神父
Luca Sorgato
2024｜0:20:00｜Italy, Romania｜Italian｜World Premiere
Director: Luca Sorgato
Interviewer & Translator: Pincent Liu
Coordinator & Editor: Suliko
导演：卢卡·索尔加托
采访、翻译：刘品呈
统筹、编辑：苏丽珂
Q1: As I know, Father Don Giuseppe Zilli is a well-known and beloved figure in Italy, who has dramatic experiences in his life. Religion and journalism do not seem to be a common cross-topic in many works by other filmmakers. Old letters and newspapers seem to be the objects of your interest. Fictional literature is also a subject of your research. Can you briefly introduce the background of this project? What interested you in the figure of Father Zilli? Most of the letters in the film may represent the psychological state and social problems of a generation in Italy. Why did you choose the period when Zilli was hospitalized after the car accident in the late 1970s Italy as the historical setting for the film? How was it ensured that the audiences in modern days can also be able to relate to it?
据了解，唐·朱塞佩·齐利（Don Giuseppe Zilli）神父在意大利是较为知名且受人爱戴的人物，他有着戏剧化的经历。在许多作品中，宗教与新闻似乎不是一个常见的交叉话题，书信与报纸等旧物似乎也是您一直感兴趣的创作对象，虚构文学也是您的研究对象。能否简要介绍一下本片的创作背景？是什么让你对齐利神父这个人物感兴趣的？片中的大部分信件也许能代表了一代意大利人的心理状态和社会问题，为什么会选择齐利神父在70年代末意大利遭遇车祸后住院的那段时间作为影片的历史背景？如何确保现代的观众也能够产生共鸣？
A1: I’ll make a premise that applies throughout the entire conversation: I will be write about Father Z. referring to the fictional character that was inspired by a real priest named Don Giuseppe Zilli.
The project originated from a personal fascination with the physical and cultural artifacts of past decades, particularly old magazines like Famiglia Cristiana. I’m captivated by its vibrant images and visual absurdities, but years later, while working on collage art, I discovered the column “Colloqui col Padre”, written by Father Giuseppe Zilli. What intrigued me most was the unexpected nature of his responses to readers’ letters, often philosophical and far from predictable. This made Zilli a compelling figure for exploration.
The historical setting of the late 1970s was particularly significant because it was a turbulent time for Zilli personally, after a car accident left him hospitalized, he continued responding to letters from his hospital bed. His vulnerability, combined with the social and existential concerns reflected in the letters, offered an excellent cinematic cue, because it highlighted the priest's temperance. The letters addressed universal themes like betrayal, sexual frustration, and existential despair, many of which remain relevant today. By carefully curating a range of letters, I sought to create a narrative that resonates both with the specific concerns of the time and the enduring struggles of the human condition.
To make the film usable for modern audiences, I chose to emphasize the authenticity of the letters by simply reenacting them in words. The role of the assistant Domenico, who reads and types Father Z's responses, is most important because he is the narrative element that allows the viewer to hear the letters and create his own imagery. This approach invites viewers to engage with the timeless emotional and moral dilemmas presented in the film, demonstrating that despite changes in social norms and technology, the core of the human experience remains remarkably the same.
我先提出一个适用于整个对话的前提说明：我将写下关于《Z.神父》的内容，它关于一位虚构的人物，其灵感来自于一位名叫唐·朱塞佩·齐利（Don Giuseppe Zilli）的真实存在的神父。
这个项目源于过去几十年我对物质艺术品和文化艺术品的个人迷恋，尤其是像《克里斯蒂亚娜家族》（Famiglia Cristiana）这样的老杂志。我被其生动的图像和荒诞的视觉所吸引，但多年后在从事拼贴艺术创作时，我发现了由朱塞佩·齐利撰写的专栏“与神父的对话”（Colloqui col Padre）。最让我感兴趣的是他对读者来信的回复很出人意料，通常富有哲理，远非预料之中。这使得齐利成为一个引人注目的值得探索的人物。
二十世纪七十年代的历史背景尤为重要，因为对于齐利个人来说，那是一个动荡的时期，在一次车祸住院后，他继续在病床上回复信件。他的脆弱，加上信中反映的社会和生存问题，为电影提供了极好的线索，因为它凸显了神父的节制。这些信件涉及背叛、性挫折和生存绝望等普遍主题，其中许多主题在今天依然具有现实意义。通过精心挑选了一系列的信件，我试图创作出一种叙事方式，既能引起人们对当时特定问题的共鸣，又能反映人类生存境况中持续的挣扎。
为了让这部电影适合现代观众，我选择简单地用文字重现这些信件来强调这些信件的真实性。助手多梅尼科（Domenico）的角色最为重要，他负责阅读和录入Z.神父的回信，因为他作为叙事要素，让观众能够听到这些信件并创造自己的想象。这种方式邀请观众参与到电影所呈现的永恒的情感和道德困境中，这表明尽管社会规范和技术发生了变化，但人类经验的核心仍然保持着一种惊人的一致。
Q2: Why does the film use a 4:3 frame? The image quality has a kind of texture that feels like certain low-definition TV series of the last century and does not have the clarity of high-resolution digital films. Can you talk about the intention of this choice?
影片为何使用四比三的画幅？其影像质感有种上世纪的某些低清电视剧的感觉，并没有高分辨率数字电影的清晰感，能否谈谈这样选择的用意？
A2: I spent many years of my life working as an operator in Italian national television, so the choice to use 4:3 framing has sentimental value for me, but there is also an aesthetic motivation behind it. I have a deep love for television as a medium, its low definition and what some might consider "bad taste," which for me turns into something wonderful. I am a big fan of Columbo and images with a wide depth of field, and the 4:3 format seemed the best choice to achieve the visual style I had in mind. We used a very small focal aperture to ensure that most of the frame was in focus, bringing out the texture and depth that I admire in older television productions.
Technically, we used a mini-dv camera from the 1990s, used mainly for television productions and intentionally anti-cinematic. However, we paid great attention to detail and managed to achieve something audiovisual that has a connection to cinema. The medium itself, although not typically associated with high-end film production, allowed us to create a unique storyline and atmosphere that fit perfectly with the aesthetic I wanted to convey.
我曾在意大利国家电视台担任多年的操作员，因此选择使用4:3画幅对我来说有某种情怀，但背后也有美学动机。我对电视这种媒介有着深厚的感情，它的低清晰度和一些人可能认为的“低级品位”，对我来说都变成了美妙的东西。我非常喜欢《神探可伦坡》（Columbo）和具有宽广景深的图像，4:3格式似乎是实现我心目中的视觉风格的最佳选择。我们使用了非常小的焦距光圈，以确保大部分画面都清晰对焦，从而呈现出我所欣赏的老式电视作品中的质感和深度。
从技术上讲，我们使用的是二十世纪九十年代的迷你DV摄影机，主要用于电视制作，是故意反电影的。然而，我们非常注重细节，并设法实现了电影化的视听效果。虽然这种媒介本身通常与高规格电影制作并不相关，但它让我们能够创造出独特的故事情节和氛围，与我想要传达的美学完美契合。
Q3: In the opening sequence, why did you invest the character of Antonello with a kind of expressionist visual feature with a duality of light and dark in the first place? The two-minute opening is like a nightmare in the dark, with light and dark shadows alternately projected on Antonello, who always seems to be drenched in darkness, as is his letter. But the last scene, when he “sees” his own face, seems to be filled with light. Can you talk about these arrangements?
在开头的段落中，为什么会给安东内洛（Antonello）这个角色身上首先赋予了其表现主义的、带有明暗双重性的视觉特征？影片两分钟的开场就像是一个黑暗中的噩梦，光与黑影交替着投射在安东内洛身上，他看上去总是浸染在黑暗中，他的信件也是如此，但在最后一幕中，当他“望见”自己的脸时，该场景似乎又充满了光亮，能谈谈这样安排的想法吗？
A3: I enjoy expressionism, especially the use of big shadows and strong contrasts. These elements add a dramatic and emotional depth to the visuals, enhancing the atmosphere and the impact of the story being told. The choice of black and white is meant to emphasize the contrast and duality within the human soul. In this film, when there’s black, it’s a deep darkness, and when there’s white, it’s almost overexposed. This serves as a metaphor for the human condition, where both profound darkness and intense light coexist within us.
Antonello embodies this existential emblem, he longs to be heard, yet, like all of us, he ultimately faces solitude in the depths of death. The interplay of light and shadow in the opening sequence reflects this internal struggle, while the final scene, bathed in light, represents a fleeting moment of transcendence with a pathetic hue. This pathetic hue emphasizes the grotesque side I always strive to maintain in my work. It serves to highlight the inherent absurdity and sadness of the human condition, adding an element of irony to the existential condemnation.
我喜欢表现主义，尤其是使用大面积的阴影和强烈的对比。这些元素为视觉效果增添了戏剧性和情感深度，增强了故事的氛围和感染力。黑白的选择是为了强调对比和人类灵魂的二元性。在这部电影中，当有黑色时它就是一片深沉的黑暗，而当有白色时则几乎是过曝的。这隐喻了人类的境况，深邃的黑暗与强烈的光明在我们内心里共存。
安东内洛体现了这种存在主义的象征，他渴望被倾听，但就像我们所有人一样，他最终要面对死亡深处的孤独。开头段落中的光影交错反映了这种内心的挣扎，而沐浴在光线中的最后一幕代表了短暂的超验时刻，带有一种悲凉的色彩。这种悲凉的色彩强调了我在作品中一直努力保持的怪诞的一面。它突出了人类生存状况固有的荒诞和悲哀，为存在主义的的谴责增添了讽刺的元素。
Q4: Did you intentionally add similarities among the three main characters? If so, can you explain a bit about it? In the opening scene, we hear Antonello’s voice-over ending with the sound of a car crash, and Father Zilli also mentioned that he dreamed of the terrible car accident. Does this suggest a sameness between Antonello and Zilli? We can also notice that Domenico, Zilli’s assistant, has a similar beard to Antonello.
您是否在三个主要角色之间设计了相似的特性？如果是，为什么会这样安排？在开头的场景中，我们听到安东内洛的画外音以车祸的声音结尾，而后Z.神父也提到他梦到了那场可怕的车祸，这是否暗示了安东内洛与齐利神父之间的相似性？我们还注意到神父的助手多梅尼科（Domenico）的形象，他留着与安东内洛相似的络腮胡子。
A4: There is no intentional connection between Father Z. and Antonello, nor between Antonello and Domenico. The similarity in their beards is purely coincidental, not a deliberate choice. Any perceived likeness in their inner selves stems from the inherent disgust we often feel towards other human beings precisely because they reflect aspects of ourselves.
This shared discomfort or recognition of sameness is not meant to imply a direct narrative link but rather serves as a commentary on the human condition how we are unsettled by the ways others mirror our own flaws, fears, or desires. It’s this existential tension that creates the illusion of a deeper connection between the characters.
Z.神父和安东内洛之间，以及安东内洛和多梅尼科之间，并无有意的联系。他们胡子上的相似之处纯属巧合，并非刻意为之。他们内在自我的任何相似之处都源于我们经常对其他人感到的固有厌恶，正是因为我们自身的某些方面在他们身上得到了反映。
这种共同的不适或对同一性的识别并不是为了暗示一种直接的叙事联系，而是对人类状况的一种评论，即我们如何因他们反映出我们自身的缺点、恐惧或欲望而感到不安。正是这种存在主义的紧张感造就了角色之间存在更深层次联系的幻象。
Padre Z., Luca Sorgato, 2024
Q5: There is a scene, when Domenico opens the door with a key to Father Zilli’s hospital room, two still frames immediately appear afterwards, an image of a priest raising his fingers, and an image of the typewriter and a dog ornament, which sounds like a door opening. Can you explain about these two frames?
片中有个场景，当多梅尼科用钥匙开门进入Z.神父的病房后，影片紧接着出现了两个静帧，分别是神父举起手指的部分画面和打字机与狗狗装饰物的画面，并各自伴随着两声类似于开门的声音。能解释一下这两个插入镜头的用意吗？
A5: These two frames are exactly as described and serve as a visual reminder of the two figures that inhabit the room, shaping much of the film’s atmosphere. On one side, the image of a priest raising his fingers on a poster represents a religious gesture a warning, but also guidance for the faithful, accompanying Father Z. on his spiritual journey.
On the other side, the basset hound figurine near the typewriter is a direct reference to my favorite film, Columbo. The dog embodies Domenico’s resigned and melancholic spirit, a reflection of his depression and sadness. A sad dog is an incredibly powerful image, and when I came across this figurine at a flea market, I had no doubt it had to be included. It encapsulates Domenico’s inner state and adds an emotional layer to the scene.
这两帧与描述的完全一致，是在这个房间里的两个人物的视觉提醒，这两帧很大程度塑造了这部电影的氛围。一侧是海报上神父举起手指的图像，代表了一种宗教姿态，既是警告，也是对信徒的指引，伴随着Z.神父的精神之旅。
另一侧，打字机旁边的猎犬小雕像直接引用了我最喜欢的电视电影《神探科伦坡》。这只狗体现了多梅尼科顺从、忧郁的精神，反映了他的抑郁和悲伤。一只悲伤的狗是一个非常有力量的形象，当我在跳蚤市场上偶然发现这个小雕像时，我毫不犹豫地准备把它放进电影里。它概括了多梅尼科的内心状态，为场景增添了情感层次。
Q6: Did you emphasize the more “human” quality of Father Zilli? His parts are different from the other characters in many details. For example, his POV shots or the objective shots of his replies to the letters are more like centre framing shots. The camera is more in an average height with a level angle, and the person is usually in the centre of the frames. But for Domenico’s part in the earlier scenes before Zilli appeared for instance, the angle is different, and he is sometimes at the edge of the frames. The shots of Zilli are given more light as well. There are also details such as the candies and the star shaped soup pasta, I sensed a dark humor, perhaps making the audiences feel closer to the character. Can you share some thoughts on these details?
您是否有强调神父这个人物身上更“人性化”的特质？他的段落在许多拍摄的细节上与其他人物有所不同，例如，反映他的视角的主观镜头或拍摄他回信的客观镜头更像是中心取景镜头，镜头角度更水平，处在平均高度上，人物通常位于画面中央。但在Z.神父出场之前的一些早期场景中，多梅尼科的场景则不同，他有时位于画面的边缘。齐利神父的场景也被赋予了更多的光亮。还有像糖果与星形意大利汤面等细节带有一些黑色幽默之感，或许能让观众感觉离角色更近了，能谈谈这些细节吗？
A6: The film was initially conceived with a simple structure of two lateral Medium Long Shot: (A) Domenico and (B) Father Z. Later, I added the other elements: the nightmare of Antonello, Domenico’s arrival at the hospital, the central pause featuring the film’s only master shot and the ending with the nurse and the star-shaped pasta soup. For me, cinema is always rooted in simplicity: a balance of wide shots and close-ups or detail. The true depth and harmony in directing lie in how these shots are connected. I love the rhythmic alternation between the wide shot and the closest ones.
The humor in the candy and the star-shaped pasta soup is both intentional. I believe food is an inherently cinematic element, capable of carrying both comedy and drama. In this case, it adds a grotesque layer, emphasizing the human condition of the priest. Though he is a spiritual figure, he remains a human being, with all his peculiar and even slightly repellent traits. This contrast is essential to the film’s tone, blending dark humor with existential depth.
这部电影最初构思的结构很简单，只有两个横向的中远景镜头：（A）多梅尼科，（B）Z.神父。后来，我加入了其他元素：安东内洛的噩梦、多梅尼科来到医院、影片中唯一一个主镜头（通常指捕捉整个场景让观众清楚地点、主要角色及角色之间关系的镜头）在中心位置的停顿以及有护士和星形意大利汤面的结尾。对我来说，电影始终植根于精简：广角镜头、特写镜头或细节之间的平衡。导演工作真正的深度与和谐在于如何将这些镜头连接起来。我喜欢广角镜头与近景镜头之间有节奏的交替。
糖果和星形意面的幽默都是有意为之的。我相信食物本身就是一种天生的电影元素，能够同时承载喜剧性和戏剧性。在本片中，食物为影片增添了怪诞的色彩，突出了神父的人性。虽然他是一个精神性的人物，但他仍然是一个人，有着他作为人所有奇特甚至有点令人厌烦的特质。这种对比是影片基调的关键，它将黑色幽默与存在主义的深度融为一体。
Q7: Reading of the letters is essential in the film in terms of length. You must have made selections from a large amount of collected letters. Can you talk about your criterion to have those nine letters in the film selected, and what are your requirements or instructions for the actors to read them?
从篇幅来看，读信的段落是电影必不可少的部分，您一定从大量收集来的信的素材中选择了片中的九封信，能否谈谈您选择的标准以及当人物进行朗读时您对演员的要求？
A7: I read hundreds of letters and carefully selected them through a painstaking process aimed at weaving a tapestry of diverse existential doubts. This process of synthesis led me to identify nine letters that comprehensively represent a cross-section of the fears and desires of Italy during that time. However, the exchange between the priest and his flock resonates with the same struggles we face today. In this way, the modern viewer is connected to a past that, despite its temporal distance, whispers truths that transcend the boundaries of time.
Through these letters and the corresponding replies, I was particularly interested in highlighting the grotesque element of human nature. This duality, the profound and the absurd, shaped both the selection of the letters and my instructions to the actors.
Regarding the instructions to the actor of Marco Antonini (Father Z.), it was a simple approach: I just had him read the letters. I’m not interested in overly pronounced acting, and I’m cautious about it because, in my view, films are often ruined by the wrong kind of performances. On set, we worked with printed A3-sized versions of the letters (giant copies) which I placed in front of him, carefully calculating the direction of his gaze. He didn’t memorize the letters or “perform” them; he simply read them.
This condition of reading, rather than acting, allowed me to shape the character in a particular way, or at least that’s how I see it. It feels as though Father Z., deep down, never really pondered his responses but always instinctively knew them. This method of delivery gave a natural and unforced quality to the scenes, reinforcing the idea that his replies were less about deliberation and more about an innate certainty.
我阅读了数百封信，并经过艰苦的过程对它们进行了精心挑选，目的是将各种存在主义的疑虑编织成一幅画卷。这个整合的过程让我确定了九封信，它们全面代表了那个时代意大利人的恐惧和渴望。然而，神父和他的信徒之间的交流与我们今天面临的挣扎产生了共鸣。通过这种方式，现代观众就与过去联系在了一起，尽管时间上相距遥远，但过去却悄悄诉说着超越时间界限的真理。
通过这些信件及相应的回信，我特别想强调人性中的怪诞元素。这种深刻而荒谬的二元性影响了我对信件的选择和对演员的指导。
关于对马尔科·安东尼尼（Z.神父的饰演者）演员的指导，我采用了一种简单的方法：我仅仅就是让他读这些信。我对过于外露的表演不感兴趣，而且我对此很谨慎，因为在我看来电影经常会被错误的表演毁掉。在拍摄现场，我们使用打印的A3大小的信件（巨型副本），我把它们放在他面前，仔细计算他的视线方向。他并没有记住这些信，也没有将这些信“演”出来，他只是读了它们。
这种“读”而不是“演”的状态让我能够以一种特殊的方式塑造角色，至少我是这么认为的。感觉就像Z.神父在内心深处从未真正思考过他的回答，而总是本能地知道它们。这种表达方式赋予了场景一种自然而并不强行的特质，强化了这样一种理念，即他的回答与其说是深思熟虑，不如说是一种天赋的确定性。
Padre Z., Luca Sorgato, 2024
Q8: Can you share some thoughts on how we may understand the reality in this film? The ending subtitles reveal to the audiences the authenticity of the letters collected. However, Antonello’s letter is the only fictional one. The film has a certain symmetrical structure, which not only ensures the particularity of Antonello’s letter, but also highlights the importance of the other nine letters in terms of length, with an interesting relationship between the two parts. The real letters sometimes end with nihility, while the fictional letter sometimes sounds concrete with details. Near the end, Zilli fell into doubt and contemplation with no replying answer. His lack of answering to the fictional letter is intriguing. His reaction is perhaps just like me as an audience. I also thought about Antonello sometimes facing the audiences in front of the camera in the opening scene, while at the end he is facing a figure that looks like his own image, which further deepened my questioning of the reality in the film. Could you bring some guidance on the doubts that the audiences may have?
您能谈谈对本片中现实观念的看法吗？结尾的字幕向观众揭示了影片信件来源的真实属性，而安东内洛的信件则是唯一虚构的。影片带有一些对称的结构特点，既确保了安东内洛的信件的特殊性，也从篇幅长度上凸显了其他九封信件的重要性，这两个部分之间的关系很有趣。真实的信件有时指向了虚无，而虚构的信件描述的景象反而有时显得很具体而有细节。且接近尾声时，神父对这封虚构信件的无反应也很耐人寻味，似乎陷入了怀疑与沉思，他的反应也许就像作为观众的我一样。此时我还想到安东内洛在开头有时会直面镜头前的观众，而在结尾时他则面对着一个酷似自己的形象，这加深了我对片中现实的质疑，您能对观众可能产生的疑问做出一些指导吗？
A8: The letters are all real, except for the last one, Antonello's, which is inspired by the story from the book on which I am basing my first feature film: Morte sospesa by Attilio Lolini, an unknown Italian writer I have been researching for a few years, and on whom I have based my entire filmography.
Both Father Z. and my previous short film, Uncle Palmiro, feature Antonello as the protagonist. Father Z. is a film that unfolds through the filter of a nightmare. Antonello’s existence lies at the center of a story that oscillates between the real and the unreal: "Did Antonello really kill the boy?" It’s an invitation for the audience to question the very nature of reality itself.
In Father Z. Antonello is a miserable character who claims to have committed a cruel crime and writes to Father Z. simply because he wants to be heard. Yet, no one listens to him—not even the priest, who paradoxically answers everyone else but ignores Antonello. This absurdity amuses me. Antonello becomes almost a stalker, an unsettling presence throughout the narrative.
The symmetry you mentioned, where the fictional letter contrasts with the real ones, is intentional. The authentic letters often end in nihilism, reflecting existential despair, while Antonello’s fictional letter is filled with concrete, detailed claims that make it disturbingly vivid. Father Z’s refusal to respond to Antonello emphasizes the grotesque irony of the situation, as even the one figure who should listen fails him.
The visual structure mirrors this tension. In the beginning, Antonello faces the audience, drawing us into his unsettling reality. By the end, it is Domenico who looks up at Antonello from below, emphasizing the disturbing presence Antonello holds in the story. This shift in perspective further deepens the ambiguity of Antonello’s existence and forces the viewers to question the boundaries of reality within the film. Antonello’s haunting presence represents the need for acknowledgment and the alienation of those who are not heard. The unanswered letter becomes a metaphor for this profound solitude.
这些信都是真实的，除了最后一封，即安东内洛的信，这封信的灵感来自于一本书中的故事，我的第一部长片就是根据 Morte sospesa 这本书拍摄的，作者是阿蒂利奥·洛利尼（Attilio Lolini），我研究这位不知名的意大利作家已经有好几年了，我所有的电影作品都是以他的作品为基础的。
《Z.神父》和我之前的短片《帕米罗叔叔》（Uncle Palmiro, 2022）都以安东内洛为主角。《Z.神父》是一部在噩梦的滤镜下展开的电影。安东内洛的存在是故事的中心，故事在真实与虚幻之间摇摆不定：“安东内洛真的杀了这个男孩吗？”这是在邀请观众质疑现实自身的本质。
在《Z.神父》中，安东内洛是一个悲惨的人物，他声称自己犯下了残忍的罪行，并且他写信给Z.神父只是因为他想被倾听。然而，没有人听他说话，甚至连神父也不例外，神父自相矛盾地回答了所有人却忽视了安东内洛。这种荒谬让我感到好笑。安东内洛几乎成了一个跟踪狂，在整个叙事中都是一个令人不安的存在。
你提到的虚构信件与真实信件之间形成对比的对称性是有意为之的。真实的信件往往在虚无主义中结束，反映出存在主义的绝望，而安东内洛的虚构信件则充满了具体、详细的主张，使其生动得令人不安。Z.神父拒绝回应安东内洛，强调了这种情况的怪诞讽刺意味，因为甚至连一个本应该倾听的人都让他失望了。
影片的视觉结构反映了这种紧张感。一开始，安东内洛面对观众，把我们带入他令人不安的现实中。到了结尾，是多梅尼科从下面仰视安东内洛，强调了安东内洛在故事中令人不安的存在。这种视角的转换进一步加深了安东内洛存在的模糊性，迫使观众质疑影片中现实的界限。安东内洛令人难以忘怀的存在代表着人们对认同的需求和那些不被倾听者的疏离。未被答复的信件成为了这种深刻孤独的隐喻。
more information: https://www.bisff.co/selection/padre-z.