Director Gabriele Fabbro

Named by MovieMaker Magazine as one of the top 2022's screenwriters to watch, Gabriele Fabbro was born in 1996, in Milan, Italy. He's a film director with a BFA degree in Filmmaking from the New York Film Academy. Since 2011, he wrote, directed and produced over 30 productions including features, short films, music videos and commercials. Among his most recent works, he directed the music video "If You Run (2020)" for Josh Homme (Queens of the Stone Age). His latest short film "8 (2019)" screened at the 76 Venice Film Festival and his first feature film "The Grand Bolero (2021)", premiered at the 2021 Austin Film Festival, was one 2022's most awarded features from Italy and was in competition for the David di Donatello Awards, Italy's equivalent to the Oscars. Gabriele’s latest work, “Trifole” (2024) premiered at the Palm Springs International Film Festival and is currently touring festivals around the globe.

In an interview with Director Gabriele Fabbro about his recent film, here is what he had to say:

Can you speak about where you are from, your background and how you got into film?

FABBRO: I was born in Milan, Italy, and grew up in the countryside surrounding the city. I've been drawn to film since childhood. As a kid, I used to sketch my favorite scenes from Disney’s '90s classics. I started shooting and editing videos in middle school and began seriously studying filmmaking. After high school, I moved to Los Angeles to attend the New York Film Academy, where I had the opportunity to refine my craft and begin working for the film industry, first as an editor then more and more as a director.

How difficult is it to make an independent film in Italy?

FABBRO: Compared to the US, I'd say it's much easier in terms of production but far more difficult in terms of promotion. In Italy, making a film is still seen as a significant cultural and artistic event, so people are generally more enthusiastic about helping with production. The country offers incredible locations and skilled crew members. Aside from national film funds, almost every region has its own film commission with separate funding systems, meaning there are more opportunities to secure a larger budget if you choose to shoot in Italy. The country produces around 300 films per year, all with decent budgets.

FABBRO CONT’D: However, the real challenge lies in promotion. The industry in Italy is quite insular, operating in a way that often feels like an exclusive club. Audiences, distributors, festivals, and critics tend to highlight filmmakers who are already famous or connected within the industry. The US, thankfully, is the opposite. I experienced this firsthand with my latest film, “Trifole” (2024). Despite having three of the most famous Italian actors in the cast, our production—being relatively new and not deeply established in the industry—was largely ignored by major festivals in Italy. Fortunately, we secured a nationwide theatrical distribution deal with Officine UBU, which properly promoted the film. However, it still feels as if Italy’s film industry prioritizes already-established names rather than discovering new talent.

FABBRO CONT’D: On the other hand, the U.S. remains a great place for promotion. While it has its own challenges, the industry actively finds space for emerging filmmakers and builds a star system around them. For example, in the US, where our cast is unknown, we still managed to get into major festivals like Palm Springs and Santa Barbara solely through cold submissions—without any connections to the programmers.

What have been the films and talents that have inspired you the most and perhaps influenced you the most?

FABBRO: Right now, I'm mostly inspired by legendary Italian filmmakers like Sergio Leone, Bernardo Bertolucci, Ennio Morricone, and Federico Fellini. One film I always return to is Bertolucci’s “The Conformist”. Every time I watch it, it feels fresh, demonstrating how much can be achieved with actors and spaces to convey deeper meanings.

FABBRO CONT’D: Since I love film music, I admire how Sergio Leone and Ennio Morricone use the score as dialogue. In their films, music dictates the emotional evolvement of the characters and the stylistic rhythm of the story. Fellini, perhaps the most auteur-driven director I’ve ever seen, creates films so personal that you feel as if you’ve met him in real life and become part of his world. His ability to transform his deeply personal experiences and fantasies into magical, yet realistic and nostalgic, cinematic moments is remarkable. Watching Fellini’s work redefines your perception of cinema—there’s one type of filmmaking before you watch him, and another type afterward. Growing up, I was also inspired by filmmakers like Charlie Chaplin, Alfred Hitchcock, and Andrei Tarkovsky.

You have worked on multiple projects to get where you are now. Do you have a favorite project you have worked on that you are most proud of?

FABBRO: I love all my work because every project demands so much of yourself. However, “Trifole” will always have a special place in my heart. It felt like a different kind of project—one I didn’t make for myself but to shed light on a specific region in Italy. My goal was to present it as it truly is, capturing all its colors and nuances without imposing judgment. Through this process, I discovered a fascinating world and a way of life deeply connected to nature. I met incredible people in the Langhe region, including Birba and her devoted owner Marisa Battaglia, as well as truffle hunter Igor Bianco—too many to name.

FABBRO CONT’D: Additionally, I made this film with close friends. Seeing Ydalie finally act in a leading role on screen, shooting with my NYFA classmate Brandon Lattman, having Serena Viganò as my production designer, and working with Francesco Piazza on production sound was an incredible experience. But also, the new collaboration with Cinefonie, our local production company, made huge difference. Working alongside some of my favorite actors, like Umberto Orsini and Margherita Buy, was a true blessing. And, of course, I can’t forget that “Trifole” is my first film to receive a proper nationwide theatrical release. The process of navigating that world and meeting theater owners has been an invaluable learning experience.

Can you tell us about your most recent film "Trifole" and the inspiration that began the journey to make it?

FABBRO CONT’D: I’ve always loved truffles—though I could only afford them occasionally because of their price! Before our first feature, “The Grand Bolero”, Ydalie and I had the idea of writing a story about truffle hunting. Initially, we only had a vague understanding of the truffle-hunting world. We knew there was a stark contrast between traditional truffle hunters—who live a simple, humble life—and the luxurious, high-end truffle trade. This contrast seemed like the perfect foundation for a neo-realistic Italian story.

FABBRO CONT’D: When we traveled to the Langhe region, we spoke with truffle hunters, farmers, and anyone involved in the truffle business who was willing to share their experiences. We gathered so many fascinating stories that we ultimately pieced together a script based on real-life accounts. What still amazes me is that, by grounding the script in real people and events, we ended up crafting something that felt like a fable. It was as if life itself was proving that magic isn’t just fantasy—it’s real.

Your film has been traveling to festivals around the world. What has that experience been like? 

FABBRO CONT’D: “Trifole” is currently touring U.S. festivals and has already been released in Italy. One of the best aspects of this journey is engaging with audiences during post-screening Q&As. The most common reaction is that people see the film as a fable, which always amuses me, given how the story was built from real events. The biggest difference in audience reception between Italy and the US has been the response to the truffle fair sequence. American audiences immediately grasp the Felliniesque critique of modern society and nature’s exploitation. Meanwhile, some viewers in Italy completely misinterpreted the scene. One critic even described it as a promotional piece for the truffle auction! To be honest, if Rossini’s decadent Cat’s Duet (Meow Meow Song) doesn’t signal irony… you might want to turn off your phone while watching a movie.

Do you have an anecdote, a funny or memorable event that happened while making the film that you would like to share?

FABBRO CONT’D: I’ll never forget shooting Igor’s monologue scene after Dalia rescues him from the woods. That monologue wasn’t in the original script—we only had the final line, “They want to erase me.” But the scene wasn’t working. Both Umberto and I felt something was missing. The night before filming, I texted Umberto the new monologue on WhatsApp. He liked it and memorized it overnight. Mind you, Umberto is 90 years old, and his contract required finalized scripts three months in advance! But despite that, he knew it by heart the next day. We did three takes, and the second one made it into the final cut. Everyone on set was teary-eyed after each take. It was a truly inspiring moment to see this legendary actor so devoted to this film and his character.

What is one of the most valuable things you have learned on the journey of making this film? 

FABBRO: Listen first, then act. Directors are often portrayed as all-knowing figures who command the set. But in reality, directing is about observing, understanding, and highlighting what’s in front of you. No matter how much you plan, reality might present something even more compelling. You need to put your ego aside and let the story unfold naturally.

Why is it so important for filmmakers to attend Cannes, PSIFF, SBIFF and other worldwide film festivals?

FABBRO: For independent filmmakers, attending festivals is crucial for generating buzz, promoting their films, and securing better distribution opportunities. Being selected for prestigious lineups like Cannes or Palm Springs also offers the chance to meet legendary filmmakers—something that, for me, as someone who grew up devouring films, feels like a dream come true. Additionally, for many filmmakers, being selected at these festivals is often the only way to get their films screened in theaters. Nowadays, most distribution deals prioritize streaming platform releases over theatrical runs. With my first film, The Grand Bolero, we sold streaming rights but never secured a proper theatrical release—an issue many other filmmakers face as well. In some cases, festivals become the only opportunity for a film to be seen on the big screen. I truly hope this changes in the future and that theatrical releases once again become a standard part of the distribution process.

What will you be working on next?

FABBRO: I'll be busy promoting “Trifole” until its U.S. release this fall. In the meantime, Ydalie and I are writing a new script—very different in style and very personal. I can’t reveal much yet, but I’m excited for what’s ahead!

Interview by Vanessa McMahon