The Shape of Life
A flow of life and memories
Directed by Nicola Martini
Directed by Nicola Martini, with a naturalistic yet delicate approach, The Shape of Life marries nature’s raw beauty with the elegance and innovation of Serafino Consoli’s jewellery. Martini’s metaphorical vision blends realism with subtle Sci-Fi elements, creating an emotionally resonant audiovisual experience where the organic motion of life evokes the dazzling brilliance of diamonds - capturing the brand's unique ability to craft truly inventive jewellery.
The Shape of Life captures beauty in various forms within ourselves, through movement, memories, and the astonishing nature that surrounds it all. Can you elaborate on some of your cinematographic decisions to capture this essence of circularity, eternity and innovative beauty within the film?
From a visual standpoint, I've chosen a naturalistic and raw approach, embellished with photographic delicacy in certain aspects. The conceptual and consequently directorial viewpoint is that everything in motion - dance, nature, life, memories, and even the camera itself - generates (or rather evokes) flocks or swarms of diamonds, metaphorically also offspring of the world. It's a sort of inherent visual flow, which for me works and emotionally resonates only if there's a realistic approach at its core, rather than artificiality. I greatly appreciate the audiovisual synthesis we achieved between classic and modern, realism and slight Sci-Fi influences that the film conveys. I wanted the CGI (which in this case represents something unreal, absurd, metaphorical, futuristic) to integrate deeply, not only visually but also dramatically. The film's perspective is emotional even before it's aesthetic: this is the true soul of the project.
You have beautifully incorporated both the serenity and grandeur of the Italian mountains and the movement and grace within the dance studio. Can you elaborate on why these specific locations were chosen to film and how they contribute to conveying the essence of Serafino Consoli Jewellery?
We sought locations that were meaningful, non-trivial, and timeless. The mountains, especially areas under glaciers like the place where we filmed, are the closest locations to the sky: there everything moves, but you can also find traces centuries old. An archaic place, that of high-altitude nature, which I find fascinating to juxtapose with something as "futuristic" as a trail of flying diamonds. The location where we set the dance interiors instead conveys history, classicism, relevance, but even in that case, the interaction with the "tech" element of the flying diamonds makes it all original and intense in my opinion
The ever-changing nature of life plays a significant role in the narrative of the film through evolving scenes. How did Serafino Consoli’s innovative and elegant brand identity influence your decisions to portray life in such ways, and does it intend to signify a deeper message about what the jewellery brand embodies?
As I mentioned earlier, intensity and emotional flow combined with a refined yet not mannered aesthetic approach were the cornerstones around which everything revolved. Consequently, the brand is circumscribed within this perimeter. Obviously, the narrative inputs presented by the brief visual flow of the film can lead the viewer to make specific and even personal associations of meaning and emotion. Everyone can perceive different nuances. Since Serafino Consoli's rings are also relevant for their unique characteristic of being able to expand and contract, they can adapt to the various phases of a person's life. The film wants to convey a bit of this. Time is a macro theme. And there can be no Time without Movement.
“The film’s perspective is emotional even before its aesthetic: this is the true soul of the project.”
The film authentically embodies your distinctive directorial approach characterised by your unique blend of a compelling narrative stance and a genuinely cinematic visual allure. How do you preserve your individual style while collaborating with an array of brands for different commercial projects?
By nature, training, and attitude, I never pursue choices dictated by trends or fashions. I always seek to preserve my perspective, of course adapting it to the project and allowing myself to be influenced, at times, by various inspirations and ideas. I always strive to ensure that the projects I undertake first and foremost possess a recognisable soul, an intensity, a meaning, and are not merely a sequence of beautiful images. For me, this means having a truly cinematic approach.
A film by Nicola Martini
Featuring Anne Jung
Production Accountant: Ivan Consoli
Executive Creative Director: Giovanni Verdicchio
Executive Producer: Alessandro Molinaro
Producer: Vittoria Citerni di Siena
Elderly woman: Ariella Portolan
Elderly man: Dario Viganò
Child: Daria Lazukina
Director of Photography: Luca Costantini
Set Designer: Michela Croci
Editor: Matteo Mossi
Stylist: Elena Monti
Music & Sound Design: Daniele de Virginio
Unit production manager: Enrico de Matteis
Production coordinator: Cesare Ferraro
Production administration: Erica Mazzucchelli
Production assistant: Mario Sacco, Luca Congedo
Driver: Sarteur Contran
Casting director: Fabrizio Veronese
Casting assistant: Sarah Toppan
Storyboard artist: Davide Borchini
First assistant director: Matteo Andreolli
Motion control op.: Roberto Chierici
Motion control ass.: Letizia Poggiani
1st AC: Loic Bovolenta
2ndAC: Oscar Molero Prat
Video Assist: Isabella Bertini
DIT: Emanuele Agosti
DIT: Danilo Catalano
Gaffer: Felice Guzzi
Best boy electric: Marco Tortora
Electrician: Andrea Casola
Electrician: Marco Merlini
Key Grip: Mimmo Lovisi
Grip: Federico Lovisi
Grip: Matteo Antonielli
Special Grip: Davide Botturi
Make up: Alice Fantini
Stylist assistant: Stefania Caprara
VFX Supervisor: Patrizio Lamura
3D Artist: Lorenzo Gianotti Pret
Color Artist: Orash Rahnema
Colorist assistant: Leonardo Mareso
Art Director: Erika Guddemi
Set Designer assistant: Andrea Sogliacci
Set Designer assistant: Mattia Marzorati
Set Designer assistant: Viola Aprile
Set Designer assistant: Margherita Montobbio