Introducing Matteo Delbò, one of the best Italian filmakers makers who won the David di Donatello award

April 15 14:57 2021

Places, faces, people, technological tools that act as an intermediary between a reality and one’s gaze, one’s ideas, one’s thoughts. In this microcosm moves the Milanese photographer and film-maker Matteo Delbò from Milan, who has traveled the world equipped with technological means and intellectual honesty.

The principle of reality is the basis of his work which consists in photographing and shooting particular or ordinary situations that if you look from a certain point of view become extraordinary. After graduating from the National School of Cinema, Matteo won the David di Donatello Award for best short film.

He broadcast live for the site of the first Italian newspaper “Il Corriere della Sera” and for MTV NEWS following natural emergencies, demonstrations and riots during the “Arab springs”. For the H24 agency he filmed 20 feature film reportages, winning some of the most prestigious Italian awards: “Naples, life, death and miracles” Flaiano Award for the best Italian reportage in 2007, “State of fear” Ilaria Alpi Award for the best long Italian documentary in 2007, Flaiano Award “Catia’s choice” for the best Italian reportage 2015.

For Al Jazeera English he shot documentaries for the Witness end Compass program and worked for Sky news from Mosul, Iraq. He currently works for the RAI “Report” program. The passion for visual culture combined with dedication and innate talent also made it possible for Matteo to win the World press photo 2019 in the digital store category for the short film “Ghadeer” where you can breathe dust and suffocating heat.

There was talk of fidelity to the principle of reality, before which everyone knelt down: skeptics, atheists, rationalists, Christians, but one wonders above all looking at Matthew’s works: it is not that we suffer from too much reality, thinking that reality is, simply, what the optical illusion trains us to, and this reality enters through the window, suffocating us like the heat of Mosul? This defect in the gaze censors us of the obvious, at the time when the art of watching and filming can also be a mockery of truth.

Matteo Delbò’s activity, built above all on relationship and sharing, leads us to deep reflections, first of all that relating to the adoption of the criterion of experience as the only source of human evidence, to put it in Fondane, on the value that today attributes to metaphysics and to the importance of skinning the foundations of civil life:

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