The first work by Tommaso Santambrogio, The Oceans are the True continents, was the last screening of this nineteenth edition of Passaggi d’Autore: Intrecci Mediterranei, to close the festival in style. The director speaks in the theater after the screening together with the artistic director Ado Hasanović who defines his film as “beautiful, strong and sad, painful”. The film intertwines the conservation and preservation of Cuban history, the future and the present, a reflection on what freedom is in a reality like Cuba.
«I preferred to remain outside as an observer and move the car only for a few moments. The only two professional actors in my film are the mother and the theater teacher, I introduced them for a question of narration and necessity. History is linked to places and people, I chose Cuba because it was the first big trip with my family when I was a child, I then returned every 3 years and studied at the film school there, before thinking about a film I lived, I integrated and I got to know the place. The choice of the theme came a priori with respect to the characters, Cuba has experienced internal conflicts and migratory issues and speaking with anyone there I realized how much behind each person there was a story linked to these separations, linked to relatives, friends, lovers who they leave the island. I also wanted to narrate Cuban contemporaneity, I told three different time periods for this very reason, I did it with three different ages and three temporal, but also social, stratifications. The black and white filter is motivated by the fact that Cuba opened up to tourism with the collapse of communism, there is an aesthetic imagery linked to Cuba, the introduction of this type of filter allows me and the viewer to cleanse themselves of aesthetics and from the common imagination and get involved in a genuine way by communicating in an authentic way instead of with the common exotic and tourist approach, exactly what I wanted to avoid. The writing work was based on continuous discussion, it lasted from pre-production until I was shooting, many people were involved in the script, we built the scenes together, we shared time. We left a margin for improvisation, which was maintained throughout the film, the children never had a script, we did a 6-month workshop in which they went to lessons and then played baseball and once a week we went to all the The places where we would film were part of their daily lives and through games, exercises and ideas we were able to fit everything that was natural for them into the drama structure. The title is a line from a poem, the language of the film aims to have a poetic dialogue, it wants to evoke what cinema does with a combination of words, images and objects. The only advice I give to authors is to try to tell what interests you and what you feel close to, what you want to explore, try to tell it while maintaining your own perspective, try to be inspired and open doors, maintaining your own authenticity and telling your own point of view because we all have our own personal way of looking at things.»