{"id":2615,"date":"2026-06-21T11:37:25","date_gmt":"2026-06-21T11:37:25","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=2615"},"modified":"2026-06-21T11:37:25","modified_gmt":"2026-06-21T11:37:25","slug":"director-stefano-bertelli-breaks-down-spacetime-chronicles-talks-feature-debut-and-receiving-true-audience-feedback","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=2615","title":{"rendered":"Director Stefano Bertelli Breaks Down \u2018Spacetime Chronicles,\u2019 Talks Feature Debut and Receiving True Audience Feedback"},"content":{"rendered":"
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\n\tAfter many years working on music videos (with clips for Eminem, Pink Floyd, Robbie Williams, Amy Lee, Lindsey Stirling, Sebasti\u00e1n Yatra and Zooey Deschanel\u2019s band, She & Him), and more than 10 years dedicated specifically to paper-based animation, Italian director Stefano Bertelli felt it was time to stop creating only for others and doing commissioned projects and start making what he refers to as \u201cdeeply personal projects.\u201d <\/p>\n

\u201cSpacetime Chronicles\u201d definitely fits into that category. This 71-minute film that marks Bertelli\u2019s feature debut (he directed a paper animated feature film before, but refers to it more as a test or gateway project), \u201cSpacetime Chronicles\u201d is a visual journey through the mind of Fred, lost in limbo, guided by a cat who acts as his conscience.<\/p>\n

Read more \u2018Yugly\u2019 Sells Wide Ahead of Annecy World Premiere, as nWave Team Enthuses at Quirky Characters, European CG With Heart (EXCLUSIVE)<\/a><\/p>\n

\n\tA surreal, dreamlike tale that follows the inner journey of a man, suspended between reality and dreamspace, had Annecy artistic director Marcel Jean praising \u201cits surrealist style, along with its DIY approach that bring Michel Gondry and his dream films to mind.\u201d Relying on bricolage, this papercraft stop-motion is, according to Jean, \u201ca genuine technical masterpiece.\u201d<\/p>\n

Boarded by Paris-based Urban Sales ahead of Annecy, it\u2019s one of the most eye-catching titles of the Contrechamps selection at this year\u2019s festival. Ahead of the event, Variety<\/em> spoke to Bertelli about the making of this singular feature.<\/p>\n

\nHow did you approach this feature-length project, fully animated in stop-motion?\u00a0<\/strong> <\/h4>\n

\n\tStop motion itself has always been part of me since my very first short film, \u201cRapid Eyes Movements,\u201d back in 1999. But the paper world \u2014 the construction of entire paper sets and environments \u2014 only truly began for me around 2014.<\/p>\n

\n\tI\u2019ve always loved independent cinema from the 1990s and early 2000s, films like \u201cDonnie Darko,\u201d \u201cClerks,\u201d \u201cMemento\u201d and \u201cEnter the Void\u201d by Gaspar No\u00e9, as well as the music videos of Michel Gondry, and I\u2019ve always been drawn to psychological and author-driven storytelling, films that enter directly into the mind of a character.<\/p>\n

\n\tThe origin of \u201cSpacetime Chronicles\u201d actually came from a music video I directed for Camel Power Club. The central image was an airliner, something that, like life itself, experiences highs, lows and turbulence. The concept was also connected to my fascination with investigations, especially documentary series focused on airplane crashes and aviation mysteries.<\/p>\n

\n\tFrom that music video, the project evolved first into a short film and then gradually into a feature, although at the beginning I didn\u2019t yet have a complete screenplay. Much of the story took shape progressively during production itself.<\/p>\n

\nCan you elaborate on the paper-based technique you chose to create this feature? How does this connect to your narrative?<\/strong> <\/h4>\n

\n\tWhen I started working on \u201cSpacetime Chronicles,\u201d one of the first questions I asked myself was: why paper? It wasn\u2019t enough for it to simply be my usual visual style. Even for someone who doesn\u2019t know my background, the film needed to justify this choice on its own.<\/p>\n

\n\tOver time I realized that paper naturally reflected the instability of the characters and the world around them. It can bend, tear, burn and collapse very easily, and that vulnerability became part of the storytelling itself.<\/p>\n

\n\tAt the same time, paper has something direct and essential about it. It reduces images to simple forms, without realism becoming too dominant. That simplicity was important because the film deals with themes like memory, identity, uncertainty and the idea that life is constantly shifting and impossible to fully control.<\/p>\n

\n\tEven the atmosphere of the music follows this direction \u2014 the feeling of something suspended between the sky and the ground, intimate but also infinite, like a paper world that could disappear at any moment.<\/p>\n

\nWhat challenges did this stop-motion, paper-based animation imply?<\/strong> <\/h4>\n

\n\tThe main difficulty was exactly the fragility I mentioned before, because that fragility constantly creates technical limitations. Paper is not malleable like clay: it is rigid, it bends easily, and its movements are much less natural, especially when working with three-dimensional objects.<\/p>\n

\n\tOver time I developed different techniques to overcome these limits. In many cases I use sequences of models built one by one to simulate movement, or I work with extreme slow motion and approaches that are not strictly connected to traditional stop-motion animation. In the end, the film is also a mix of all my previous experience in video production.<\/p>\n

\n\tAnother complex aspect was not only the animation itself, but also the construction of the sets. Many environments were large structures built as single blocks, such as the interior of the airliner. To support them we needed strong internal frameworks along with all the hidden technical systems behind them: stepper motors, robotics, LED wiring and mechanical systems used to assist certain animated movements.<\/p>\n

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\n\tIn this process, Riccardo Orlandi was fundamental. I met Riccardo during one of my first amateur horror films in the early 2000s. We were completely self-taught, like many young people starting out by making horror movies with friends pretending to be actors. Apart from a camera, we basically had no equipment at all. Riccardo immediately became very important. I still remember him building a homemade dolly using metal sheets and a skateboard to create cinematic camera movements. We continued our collaboration, and later we founded our own production company, Seenfilm.<\/p>\n

\n\tSince then we have always worked together, and he developed a huge amount of experience because we constantly found ourselves dealing with situations we had never encountered before. He is my creative partner on the film, but our collaboration goes back much earlier, to the years when we worked together on live-action sets.<\/p>\n

\n\tIn some ways Riccardo represents the more analog side of the project, while I am more connected to the technological side \u2014 cameras, computers and digital tools. But in reality we help each other with everything. We are only two people, but very coordinated.<\/p>\n

\nHow long did it take to produce this piece, how many sheets of paper did you use, and do you recall how many firecrackers for your explosions you fired?<\/strong> <\/h4>\n

\n\tIt took me around four or five months to complete the film, although not continuously, because during that period we were also working on music videos and other commissioned projects.<\/p>\n

\n\tI honestly couldn\u2019t say exactly how much paper was used. At this point we order materials constantly and regularly, so it\u2019s difficult to keep track of it, but if I had to estimate, probably several thousand sheets in 100\u00d770 cm (39\u00d727 inches) format.<\/p>\n

\n\tWhen I decided to introduce extreme slow motion in the film, one of the first ideas was connected to explosions: something extremely fast and violent that could suddenly be frozen in time.<\/p>\n

\n\tBut probably the scenes that gave me the greatest satisfaction are the ones inside the airplane while it overturns: objects flying through the cabin, the light entering through the windows and creating realistic shadows across the interiors. In those moments the film almost feels real, even though everything is entirely made of paper. This approach with slow motion also gave the film a more dramatic quality.\u00a0<\/p>\n

\nHow has this film connected with audiences so far? What feedback have you received?<\/strong> <\/h4>\n

\n\tThere\u2019s an episode from the Brussels premiere that still makes me smile. I was sitting anonymously in the last rows, exactly as I wanted to be. At the end of the screening, everyone was leaving the theater with a small paper card used to rate the film from one to 10. Near the exit, in a dimly lit corner, there was a small table where people stopped to fill them out. At one point I noticed a man taking a pen and starting to write his vote. I couldn\u2019t resist. I slowly moved closer and closer, almost pulled toward that little piece of paper. Eventually I saw the score: 10 out of 10.\u00a0<\/p>\n

\n\tBy that point I was standing so close that the man inevitably turned toward me with a suspicious look. I looked at him emotionally and simply said: \u201cThank you.\u201d Then we both started laughing. That\u2019s exactly why I prefer people not to know I\u2019m in the theater. I want that kind of reaction \u2014 spontaneous, instinctive, unfiltered.\u00a0<\/p>\n

\nWhat is animation for you as a medium?<\/strong> <\/h4>\n

\n\tI\u2019m not an animation fanatic in the strict sense of the term. I love cinema in a broader way \u2014 independent films, documentaries. The animated works that truly stayed with me are mainly author-driven films: Hayao Miyazaki, of course, but also \u201cWaltz with Bashir,\u201d \u201cPersepolis,\u201d and \u201cA Town Called Panic.\u201d Films that use animation not as a genre, but as a necessity, as the only possible way to express a certain idea.<\/p>\n

\n\tI come from live action and music videos. At a certain point, budgets became so limited that I no longer felt able to express myself properly. I\u2019m not speaking only about money \u2014 I\u2019m speaking about mental space. Some ideas are expensive by nature, and in the music video world, even achieving a strong visual quality on set already requires a medium-to-high budget, let alone attempting something narratively ambitious.<\/p>\n

\n\tSo I decided to build my own paper world. A world where I can develop any idea, as long as I respect its internal rules.\u00a0Animation gave me exactly that: a freedom that the real world would never have allowed me to have.<\/p>\n

Read more Cinepolis Picks Up Australian Documentary \u2018Shared Table: Regional Heroes\u2019 for India Theatrical Release (EXCLUSIVE)<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

In Annecy’s Contrechamps competition, the film is a paper stop-motion feature from the music video director of Eminem, Robbie Williams and more.<\/p>\n","protected":false},"author":1,"featured_media":2614,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[2048,2226,2227,2228],"class_list":["post-2615","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-annecy-animation-film-festival","tag-spacetime-chronicles","tag-stefano-bertelli","tag-urban-sales"],"yoast_head":"\nDirector Stefano Bertelli Breaks Down \u2018Spacetime Chronicles,\u2019 Talks Feature Debut and Receiving True Audience Feedback - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=2615\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Director Stefano Bertelli Breaks Down \u2018Spacetime Chronicles,\u2019 Talks Feature Debut and Receiving True Audience Feedback - 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