Belgian-Italian filmmaker Mathieu Volpe has always stood at the intersection of cultures—and genres. Known for his documentary work, Volpe takes a bold step into fiction with ELDORADO, a quiet and emotional story of grief and migration set in the snowy borderlands of France and Italy.
The short, inspired by both personal loss and real-life border crossings, was picked by guest curator Jukka-Pekka Laakso, for the 2025 T-Port Lighthouse Selections, it originally appeared on T-Port courtesy of our partners at Wallonie Bruxelles Images.
In this interview, Volpe opens up about the decade-long evolution of the project, how a mother-son acting duo transformed the film, and why silence speaks louder than an orchestral score.
Hi Mathieu! First of all, could you introduce yourself?
My name is Mathieu Volpe. I’m a Belgian-Italian filmmaker in my early thirties, born and raised in Bari, in the south of Italy, before moving to Belgium—my mother’s homeland—to study cinema. This dual cultural background has deeply shaped my perspective as a filmmaker. Growing up between two countries, two languages, and two cultures made me particularly sensitive to themes of identity, migration, and belonging, which are at the core of my work.
I currently live in Belgium, but my films often take me beyond its borders. My first short documentary, NOTRE TERRITOIRE, was a personal journey back to the landscapes of my childhood, where I explored the invisible reality of Sub-Saharan African migrants working in the tomato fields of southern Italy. This work laid the foundation for my first documentary feature, UNE JEUNESSE ITALIENNE, which explored the challenges and aspirations of young Burkinabe migrants in Italy. That research naturally led me to my first fiction short film, ELDORADO, inspired by real stories of migration at the Franco-Italian border. In my projects, I aim to intertwine intimate narratives with broader social realities, blending documentary and fiction in a hybrid approach.
If you could watch one film forever on a loop—what would it be?
MULHOLLAND DRIVE by David Lynch.
Do you affiliate yourself with any cinematic or artistic movements, or see yourself as fitting in with any?
My work is deeply influenced by certain approaches and traditions that prioritize realism, social issues, and personal storytelling. My background in both documentary and fiction filmmaking shapes my style, which tends to blur the lines between the two. I’m drawn to the observational and immersive qualities of documentary filmmaking, where the camera becomes a tool for understanding the world in a subtle, non-intrusive way. At the same time, I’m interested in fictional storytelling, where I can use narrative structures to explore larger social issues through intimate, personal experiences.
In terms of movements, I find resonance with the Italian neorealist tradition—particularly in how it blends social realism with a focus on the everyday lives of marginalized people. I also feel a connection to contemporary filmmakers who merge documentary and fiction, such as those in the cinéma vérité tradition, as well as filmmakers who push boundaries and challenge conventional cinematic forms to tell more authentic, grounded stories.
While I don’t align myself with one single movement, I see my work as part of a broader wave of cinema that seeks to capture and reflect on the realities of contemporary life, with a focus on human experiences and social justice. My approach is not confined to one genre or style but is driven by a desire to represent those voices and stories often overlooked in mainstream media.
How did you first start working on ELDORADO? What was the process like and what first sparked the idea to make it?
I first started working on this film about ten years ago, during my cinema studies, where it was meant to be my graduation project. At that time, I wasn’t able to bring it to life, but the idea stayed with me. It came from a personal tragedy in my family back in 2007—the death of a cousin in an accident. That loss made me reflect on grief and how, sometimes, mourning can lead to a search for meaning or a need to act in order to move forward.
Though the idea remained in the background for years, it never really left me. After film school, I gravitated more towards documentary filmmaking. It was while working as a script consultant on a documentary set at the France-Italy border that I was confronted with the realities of those making the crossing. That experience deeply resonated with my original theme—the idea of crossing a boundary, both physical and emotional. Little by little, these two realities merged, and this project was born.
Initially, the story followed a white volunteer helping a migrant. But as I developed it further, I realized the film would be more honest and complex if it moved away from that dynamic. Shifting the perspective allowed the story to take on new depth, and in the end, that evolution felt right.
What would you like people to take away from your film?
I hope the film leaves people with a sense of empathy and a deeper understanding of the personal struggles behind migration. Beyond the political and media narratives, I wanted to show an intimate, human perspective—what it means to take a risk, to cross a border, both physically and emotionally.
At the same time, it was important for me to center the story around a strong and complex Black female character, whose journey is not solely defined by migration. She faces her own internal struggles, especially around grief, and I wanted to show how loss can shape her, giving her depth beyond the typical narrative surrounding migration.
If the audience walks away reflecting on both the resilience of those who are often unseen and the different ways we cope with grief, then I feel the film has done its job.
Once you had the idea – how did you go about the production process?
The biggest challenge at the start of the production process was finding a production company in Belgium (where I live) that would trust me with the project, especially since I wasn’t yet part of the fiction film world. My only previous work had been a graduation documentary short, which had a good run in festivals but was firmly in the documentary realm, not fiction.
After a lot of searching, I decided to work with Sebastian Schelenz (Velvet Films), with whom I shared similar cinematic references. Through him, I discovered Christian Petzold’s GHOSTS, which deeply influenced me during the rewriting process and helped shape the atmosphere and tone of the film.
To move forward with the production, I also connected Sebastian with an old childhood friend, Luigi Chimienti, who had recently founded his own production company, Disparte, in Rome. Our goal was to secure an Italian co-production, particularly since we wanted to shoot in the region where migrant crossings between Italy and France occur. In the end, we secured funding from the production fund of the neighboring region, Valle d’Aosta. Although this meant moving the shoot a few hundred kilometers north, it ultimately gave us access to beautiful landscapes that added depth to the film.
What were the biggest challenges you encountered during making your film?
One of the biggest challenges we faced during the shoot was working in high-altitude conditions, with temperatures sometimes dipping below -15°C. Just three days before we began filming, the region experienced the heaviest snowfall it had seen in years. This meant that many of the locations we had scouted were suddenly inaccessible, and we found ourselves surrounded by up to 60 cm of snow.
Fortunately, having a documentary background helped me stay adaptable when unexpected situations like this arose. Thanks to an incredible team, some of whom were from the Aosta Valley and knew the area well, we managed to quickly adapt. One key team member was Giorgio Vigna, the location scout and production manager, who had also worked on THE EIGHT MOUNTAINS, a film shot in the same region. With his help, we were able to secure new locations and ensure the shoot went ahead safely, despite the difficult conditions.
How was it to collaborate with your cast and crew? Have you formed any particular meaningful connection from someone from the crew you would like to share?
Collaborating with my cast and crew was an incredibly enriching experience, and one of the most memorable connections I made was with Diane Onana, who plays the lead role and truly carries the film. Diane isn’t a professional actress; she embarked on this journey primarily to have a meaningful experience with her son, Frank Onana, who plays the second lead.
The story of how we cast Diane is actually quite funny. We were originally casting Frank for the second role, and Frank told Sebastian Moradiellos, the casting director, that his mother had done some theatre in her youth. Diane then came in for an audition, and at first, we thought she wasn’t really interested in participating, which we still laugh about. But when she performed the scene we had asked her to prepare, it was incredible.
The shoot was a meaningful experience for Diane and Frank, allowing them to strengthen their bond through this shared journey. It added a new dimension to their family relationship. Diane also gained a deeper understanding of her son’s work on set. It was a reminder of how film can create not only professional but also personal growth and connection.
Tell us about the sound choices in your film.
I collaborated for the second time with Andreas Moulin, a Flemish composer who had previously composed the score for my documentary UNE JEUNESSE ITALIENNE. For this project, we aimed for a more impressionistic sound, inspired by Debussy’s Des pas dans la neige. Andreas composed several beautiful orchestral pieces, but we ultimately decided that a full orchestral score throughout the film might risk over-dramatizing certain moments.
That would also have distracted from the natural sounds of the mountain—the wind, the crunch of snow, the flowing water, and, most importantly, the profound silence that envelops the landscape. This silence became a metaphor for grief, and we felt it was crucial to preserve the atmosphere of the environment.
Therefore, we decided to use music only at one specific moment in the narrative—when the main character confronts and overcomes her trauma. It was a moment where the music could truly amplify the emotional depth. But for the end credits, Andreas fully embraced the opportunity to create a powerful, expansive piece that offered a sense of release as the film came to a close.
What do you feel young film talents lack the most today, after graduating from film school?
I believe that one of the key things young filmmakers need to understand after graduating from film school is the importance of perseverance. Access to funding remains a significant obstacle, and it’s often difficult to secure support, even with solid projects. What is often underestimated is the perseverance required to navigate this system, as well as the patience needed to carry a project through.
Additionally, there’s a need to be aware of the power dynamics that can arise in the industry. It’s important to have open discussions and support one another, rather than creating overly competitive environments. Fostering a sense of solidarity and collaboration is essential to prevent toxic dynamics and to help everyone grow together. This kind of mutual support can go a long way in sustaining a healthy and creative filmmaking environment.
What’s next for you?
In May, I’ll be shooting a new short film that I’m co-directing and co-writing with Frank Onana, the Belgian-Cameroonian actor who played the second lead in ELDORADO. He’ll also take on the leading role in this new project. I’m producing the film as well, so it’s both an exciting and personal endeavor.
At the same time, I’ve begun preparing my first fiction feature, L’OR ROUGE, which is scheduled to shoot in Italy next September during the tomato harvest—if the final funding comes through in time. The film is produced by Delphine Tomson and the Dardenne brothers, and their support means a great deal to me. Their films were a major influence on my own desire to make movies.
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