QUESTION#1: What excited you the most when making this film?: What excited me the most during the making of this film was, without a doubt, the improvisation and the extraordinary ability of my team to face challenges. The day before filming, we lost our main location, a forest, and since it was impossible to adapt the entire story to a new setting, I decided to rewrite the plot that same night. I kept the main characters—a female soldier and two children—and almost rebuilt everything from scratch.

I must say I was incredibly fortunate to have a team that didn’t let difficulties overwhelm them but instead followed and supported me throughout the entire production. We made the most of the time available, improvising and crafting scenes and shots on the spot. I must admit I am very proud of what we were able to create with The Footprint.

There wasn’t a single moment of discouragement: everyone gave their best to deliver a quality product. I am truly proud and grateful for the efforts and dedication my team put into this project.

QUESTION#2: What was the most significant film you've seen AT THE THEATER in 2024, and how did it influence your filmmaking?: The last film I saw in theaters in 2024 was The Substance, which won Best Screenplay at Cannes. I must say that the element that influenced me the most—and even inspired me for a new project we're currently working on—was the dystopian music featured throughout the film. The soundtrack of The Substance completely captivated me, evoking a powerful mix of discomfort and confusion. This effect intrigued me so much that I decided to explore it further with my composer, Giuseppe Calandrini, as we are now creating a similarly evocative score for our upcoming project.

QUESTION#3: What's an obvious and not-so-obvious question someone might ask about your film?: The most obvious question someone might ask me about my film is, 'Why tell yet another war story?' In reality, I don’t think my film is a war story at all. I believe its main theme is humanity and how the human mind navigates situations of danger.

A less obvious question might be, 'Why doesn’t the child help the female soldier? Why doesn’t he go looking for help?' Fundamentally, there are two reasons. First, I wanted the child not to help the soldier to convey the innocence and inability of children to recognize danger. Second, on a deeper level, the child is actually a projection of the woman’s mind, an obstacle keeping her away from her desire to return home. The child doesn’t really exist but is merely a product of the woman’s imagination and delirium.

QUESTION#4: A magic movie genie is giving you an unlimited budget for your next production! However, you're only allowed to use it on either "above line" or "below line" resouces. Which do you choose and why?: I have to admit that this is quite a difficult question. But based on my limited experience, I would say above the line. I believe that for a film to be truly great, it must first and foremost have a compelling story. Then it needs talented actors who can bring that story to life and a director capable of telling it in a way that engages the audience. You can tell powerful, captivating stories without grand locations, spectacular effects, or extraordinary choreography.

In my short career, I directed a short film titled Dreamers, which tells the story of four Mexican immigrants crossing the Mexico-U.S. border in the back of a truck, sharing their dreams and aspirations for the future. The entire project was filmed in a real truck, and the 8 minutes and 50 seconds capture moments of sharing, dreams, hopes, and fears of men fleeing their pasts in pursuit of a better future. There are no special effects, no elaborate choreography—just four young men sitting in the back of a truck, telling their stories and seeking truth in who they are.

QUESTION#5: What is it about your current movie that will influence your next film?: In my current film, but I would say in all of my films, there is a search for a different point of view: telling the stories of ordinary people, but from different perspectives, from their perspectives, trying to make the audience experience what the protagonists of these stories may have lived firsthand. Through emotions and psychological studies of my characters, I strive to tell their stories. The goal is to immerse the audience in what they are watching, making them the true protagonist, letting them feel strong emotions, and ultimately giving them a different perspective on the world, making them reflect on common and current issues.

Social media tags to share with our readers: @frank.zanella

5Q's w/: Frank Zanella "The Footprint" Director, Writer, Producer