In the midst of the turbulent 1970s, Italy was a battleground for ideologies, where the clash between communism and capitalism reached fever pitch. The Lost Shoes, a new documentary by filmmakers Tomaso Aramini and Rafiqfuad Yarahmadi, explores this volatile period through the life of Armando Lanza, a dedicated communist whose revolutionary fervor led to the infamous kidnapping of a NATO general. Through Lanza’s story, the film delves into the broader narrative of Italy’s radical left and its quest to reshape the world. In this interview, Aramini and Yarahmadi share their motivations, challenges, and the political significance of their work.
Tomaso, Rafiqfuad, The Lost Shoes tells a powerful and controversial story. What inspired you to bring Armando Lanza’s life and the broader communist movement of the 70s to the screen?
Tomaso Aramini: The inspiration came from a very personal place. My mother, who is from the same village as Armando, suggested I read a book about her generation's struggles and dreams for a different world. That book was Le Scarpe Dimenticate, which translates to The Forgotten Shoes. It captivated me, and after meeting Armando, I knew his story needed to be told. His life mirrors the political aspirations and eventual disillusionment of many who lived through that era. It was a story that aligned perfectly with my vision of filmmaking as a means of awakening consciousness and contributing to the emancipation of the oppressed.
Rafiqfuad Yarahmadi: For me, the project was an opportunity to explore a different chapter of revolutionary struggle. Coming from a Kurdish background, where similar ideological battles have taken place, I felt a strong connection to the subject. Armando's story is not just about his personal journey; it's about a movement that sought to change society radically. This is something I relate to deeply, and I wanted to help bring this history to a wider audience.
The film is deeply rooted in Marxist theory and historical materialism. How did you approach the challenge of making such a complex political narrative accessible to a modern audience?
Tomaso Aramini: That was indeed one of our biggest challenges. We wanted to avoid the traditional, bourgeois documentary techniques that often reduce complex stories and characters to archetypical prototypes . Instead, we aimed for a dialectical approach, where Armando’s personal experiences are intertwined with the broader political context. We took the viewer on a journey through the key locations of Armando's life, letting his memories and reflections unfold naturally. This was combined with reunions with his former comrades, which allowed us to delve into the general laws and trends of that historical period without overwhelming the audience with unnecessary details.
Rafiqfuad Yarahmadi: We also used various cinematic techniques to bridge the gap between past and present. For instance, we employed self re-enactments, voice-over narration, and archival footage to give context to the events without losing the emotional core of the story. We wanted the film to resonate on both an intellectual and an emotional level, making it accessible to those unfamiliar with the intricacies of historical materialism while still offering depth for those who are.
The film tackles the idea that the struggle for socialism is far from over, despite the perceived end of history. What message do you hope The Lost Shoes will convey to contemporary viewers?
Tomaso Aramini: The central message of The Lost Shoes is that history is not a closed chapter, and the quest for social justice is ongoing all over the world. The contradictions that fueled the movements of the 60s and 70s are still present today, albeit in different forms. By revisiting the struggles of the past, we gave our contribution for new generations to critically engage with the world around them and to recognize that change is possible, but it requires a deep understanding of history and a commitment to action.
Rafiqfuad Yarahmadi: We also want viewers to reflect on the sacrifices made by those who came before us and the complexities of their choices. Armando and his comrades were driven by a vision of a just world, but their methods and the consequences of their actions are open to interpretation. We hope the film will provoke discussions about the ethics of revolutionary struggle and what it means to fight for a cause you believe in.
The Lost Shoes is clearly a labor of love, with both of you wearing multiple hats during its production. How did you manage the various roles and challenges that came with making this documentary?
Tomaso Aramini: It was indeed a demanding process. We had to be incredibly versatile and efficient to be able to reduce costs. Although I believe that committed films like this one require a complete symbiosis with the subject matter. Somehow they need to be made as far as possible from industry and bureaucracy constrains. This film is fully self-funded. Both me and Rafiq had to work very long extra hours to make end meets and afford production and especially post-production costs. And these are not over yet! In order to be able to launch the film commercially we will need another 30K Euros to be able to pay commercial archive license and marketing. So we hope to get the attention out because the film deserves it.
Rafiqfuad Yarahmadi: The film was also a collaborative effort with contributions from few but key individuals who provided crucial support, from archival research to post-production feedback. We faced numerous challenges, from securing locations to navigating the emotional weight of the subject matter, but we approached each obstacle with a sense of purpose. Eugenio Vatta the sound designer and composer made a huge difference in keeping the tension alive with a hypnotic soundtrack. This film is more than just a documentary; it's a testament to the power of collective effort in bringing untold stories to light.
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