BIOGRAPHY

I was born in Turin in 1956. I am married and have two children. I live in a small town near Biella. Despite having a classical education and a PhD in Legal Sciences, fate has led me to mainly deal with computer science throughout my long career.
Now that I am retired and have plenty of time, I can finally dedicate myself to my greatest passions: the study of history and “traditional” writing, especially for cinema.
In the last two years, in addition to writing several screenplays that have won awards at international competitions, I have also written a historical novel, “The Treasure of Venice” (published by PlaceBook Publishing), and a contemporary fantasy novel, “The Theatre of Memory”, which has received some recognitions in important literary awards and was published by Oakmond Publishing.

“The Path on the Lagoon” combines elements of war, betrayal, and redemption. How did you balance these different themes, and how did you weave them together to create a cohesive narrative?

The final version of the screenplay is the result of continuous rewriting and refinement. It was a gradual process built with intuitions or, to use a challenging word, with an unexpected inspiration but still difficult to frame in a systematic approach.

The historical backdrop of Mussolini’s negotiations with the resistance and the presence of a hidden treasure in Palazzo Giustiniani add intrigue to the plot. How did you incorporate these historical elements into the story, and what research or sources did you draw upon?

The attack on Palazzo Giustinian, described in the screenplay, actually happened on 26 July 1944. Giovanni Barbini was indeed the Podestà of Venice at the end of the war. The two actors Osvaldo Valiani and Luisa Forzani are actually Osvaldo Valenti and Luisa Ferida, a couple of actors, also lovers, famous before the war. From this attack which moreover still has some dark sides, and from this persons I started to outline my story, adding an imaginative reconstruction where necessary.

The story also explores the concept of redemption and the quest for freedom through dreams, against the backdrop of war. What commentary or reflection does it provide on the human condition?

This is a great theme on which I have given much thought. I have always been fascinated by men who, although struggling with their own personal tragedy, keep their “childish” ability to still have dreams. This is because only through their ability to dream human beings are able to rise towards truth, above the chains set by reality.

“The Path on the Lagoon” also addresses themes of guilt, manipulation, and the consequences of one’s actions. How did you tackle the representation of these themes and their impact on the lives of the characters, particularly in relation to Franco Comelli?

I believe that everything can be summed up in this consideration, also mentioned in the screenplay: Comelli is a man who cannot dream, the three soldiers, on the other hand, can. The whole narrative arose naturally from this contrast.

Without revealing too much of the unexpected ending, the message of the story seems to be expressed by the symbolic opposition between oppression and war and freedom and art as the salvation of man. What do you hope viewers or readers take away from “The Path on the Lagoon”?

I would like these few pages to convey two messages. The first is a message of hope towards men and their stubborn ability to dream. The second is that we must always observe reality through the eyes of a child to be sure to see what others will never be able to see.

THE SCREENWRITER

Name:Roberto Pareschi
Script:Il sentiero sulla laguna
From: ITA