Paolo Sodi Exclusive Interview: Sereva, A Papuan Tale

Between Childhood Dreams and Ancestral Traditions

In the remote beauty of Papua New Guinea, where time seems to slow down and traditions are still alive, a young boy dreams of building his first canoe. That boy is Sereva, the protagonist of Paolo Sodi’s latest documentary, produced by the historic S.D. Cinematografica.

With a career spanning collaborations with Paramount+, Sony, Off the Fence, and RAI, Paolo Sodi has built a reputation for authentic and visually striking storytelling, bringing audiences into intimate contact with cultures and environments often overlooked.

Sereva: A Papuan Tale is more than a coming-of-age story. It’s a reflection on memory, tradition, and the fragile balance between modernity and ancestral roots, themes that resonate deeply in today’s rapidly changing world.

We sat down with Paolo to talk about the making of the film, its vision, and what lies ahead for its international journey.

Paolo, let’s start from the beginning. What inspired Sereva, and how did this idea evolve into a full documentary set in Papua New Guinea?

It all began eight years ago, when I spent 45 days in Papua New Guinea and fell in love with its culture.

On one of my rare days off in Port Moresby, I stumbled upon the newly released animation film Moana. At that moment, combined with the fact that I had been a father for three years to a wonderful daughter, it became a deep source of inspiration.

She has been my muse, leading me to tell the story of a young boy who, with simplicity, resilience, and dreams, sets out to build his canoe.

The film balances the intimacy of a child’s dream with the weight of cultural heritage. How did you shape this narrative without losing authenticity?

For me, shaping such a beautiful story without losing its authenticity came naturally.

Do you know why? Because from the very beginning I told myself: I want this story to come from his perspective, at his eye level, following him in his daily life.

By doing so, I lost myself in his world, in his culture, in their beauty. I discovered his simple yet profound happiness, rooted in the nature that surrounds him.

What was your experience like filming in the Milne Bay region of Papua New Guinea? Were there particular challenges or surprises during production?

In the Milne Bay region, my assistant and I faced many challenges and unexpected situations. The choice, made together with the producer, Roberto Dall’Angelo, was to travel in early May, right in the middle of the rainy season.

You can imagine: malaria was everywhere; it’s a highly malarial area, but at the same time, the rainforest was shining in a vivid, brilliant green. That was exactly what I was looking for: a jungle so alive that it could speak through its colors. Yet this also meant sudden downpours, floods, and moments when we simply couldn’t film because our boat, even with an engine, couldn’t fight its way upstream against the current.

Hardships, discomfort, misadventures that paradoxically made the whole experience even more intense, more real, more beautiful. Every single day, we were also accompanied by an armed escort from the Papua New Guinea police, protecting us day and night from possible threats.

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This project also marks an important collaboration with S.D. Cinematografica, a company with a long tradition in documentary filmmaking that spans several decades. Their expertise, experience, and reputation in the industry have been instrumental in shaping the quality and depth of the production. How did this partnership influence the production and support your vision for Sereva?

Having collaborated with S.D. Cinematografica for over ten years, I have developed a strong and trusting relationship with the team, which has allowed for a seamless integration of their creative input and my vision. Their rich history and commitment to authentic storytelling provided a solid foundation for the project, ensuring that every aspect of Sereva was approached with meticulous attention to detail and artistry.

What makes this partnership even more remarkable is that S.D. Cinematografica believed in the project from the very beginning and decided to invest in its production without any guarantee from TV networks or platforms, something that true producers should do, and which is increasingly rare nowadays.

The collaboration with S.D. Cinematografica profoundly influenced the production process. Their extensive knowledge of documentary techniques helped refine the narrative structure and visual storytelling methods, ensuring that the project remained true to its core message while engaging viewers effectively. Moreover, their resources, networks, and technical expertise expanded the project’s possibilities, enabling us to push boundaries and explore new creative directions.

A particularly significant figure in this collaboration has been producer Roberto Dall’Angelo. His sensitivity, respect for the subject matter, and unwavering professionalism played a vital role in supporting and empowering my artistic vision. Roberto’s guidance and encouragement made it possible to navigate complex production challenges with confidence, fostering an environment where creativity could flourish.

This partnership was not only a strategic alliance but also a source of inspiration and growth. 

Directing a 10-year-old protagonist in such a delicate cultural context must have required sensitivity. How did you build trust and connection with him and his community?

You’re right: directing a ten-year-old protagonist in such a unique, delicate, and rich context required a great deal of sensitivity. But do you know what the secret was?

The secret was building trust and a deep bond with him by entering gently, quietly, step by step.

I tried to portray him in the most genuine way possible, never altering his daily life, respecting his rhythms, his play, his freedom, his very essence of being a child. All in the truest form.

Nature plays a central role in the film, almost like another character. How did you approach visually and emotionally capturing its presence?

When we speak of nature, for me we speak of everything.

Having nature and its elements as a frame around such a beautiful story is pure joy. It almost feels too easy, because nature itself is too beautiful.

Nature is perfect, nature is a miracle.

All I had to do was turn on the camera — the rest had already been done by her.

From a technical perspective, what cameras, lenses, and setups did you rely on? Was portability and adaptability in such a remote location a key factor?

From a technical perspective, I worked with the Sony FX6 and the Sony Burano. I found them perfect for enduring extreme weather conditions: I pushed them to the limit — dust, rain, humidity, sudden temperature changes — and they performed flawlessly.

Two cameras are as light and easy to handle as they are truly cinematic.

I paired them with Sony G Master lenses, working almost entirely in autofocus.

Your work is known for refined aesthetics. How did you balance the rawness of documentary filmmaking with your visual approach in this project?

I must say that very often the aesthetics I bring into my documentaries take on a special value: on one hand they balance, on the other, they contrast with the narrative.

A powerful, strong, impactful aesthetic that meets a linear and truthful storytelling.

Being able to shape natural light more strongly within such an authentic project always fills me with gratitude. It’s something I deeply care about, because every time I try to optimize and push to the fullest the light I encounter.

My keyword in this case is: adapt to the context, making it shine at its best.

We heard you are about to produce a music video connected to the film’s soundtrack. Can you share a preview of this idea and how it extends the story of Sereva beyond the screen?

These days, we are working on a music video to celebrate the beauty of the main track composed by Matteo Cremolini, which I find absolutely perfect for this documentary.

In just a few minutes, he has managed to capture everything this film means to me: happiness, dreams, freedom — the highest expressions children can have, and that every child in the world should be able to experience.

The music video will follow the same approach as the documentary, weaving in selected excerpts from the film to merge music and imagery into a single breath.

What were the biggest logistical or technical challenges you faced on location, and how did your crew overcome them?

The logistical and technical challenges on location were formidable, but a key factor in our success was the invaluable support of a dedicated local location manager/fixer. This person took on the vital role of resolving unforeseen issues, organizing the shoots in advance, and orchestrating all logistical aspects, allowing us to focus on the creative work.

Given the environment and the security situation, we also had an armed security team on site to ensure the safety of the crew at all times. Their presence provided peace of mind and allowed us to push forward under difficult circumstances.

The work was physically demanding and adventurous: waking up at dawn, navigating rugged terrain, wading barefoot through rivers, and handling equipment in challenging conditions. We worked tirelessly from early morning until late in the evening, often exposed to the elements, insect bites, and changing weather, and faced many unpredictable obstacles along the way.

Despite these hardships, the combination of local support, careful planning, and our own determination enabled us to overcome the physical and logistical challenges and successfully complete the project. It was truly demanding but incredibly rewarding.

The canoe is portrayed as more than a practical object; it becomes a symbol. What do you hope audiences, buyers, and festival selectors will take away from this exploration of tradition and modernity?

The canoe goes far beyond being a simple practical object. It is a symbol.

Imagine this boy, every single day, crossing a river alone in his canoe, paddling for 30–40 minutes just to get to school.

It is there that the beauty of simplicity reveals itself: living it, savoring it, appreciating it. Here in the West, we have everything, yet it never seems enough. Through Sereva, I discovered that with nothing, one can have everything.

I was mesmerized watching him play, throwing smooth little stones into the water, trying to make them skip. I was mesmerized.

And I ask myself: who among us wouldn’t wish this pure happiness for our own children?

Looking ahead, how do you see your work evolving? Are there specific stories or themes you’re eager to explore next?

This is how I see the future: continuing to seek and uncover stories that are beautiful, true, and simple — stories that can inspire and leave a mark.

I already have one in mind that I’m working on. It’s a little secret, something I can’t reveal yet. But I feel it will steal my heart even more than this one.

And I truly hope it will do the same with the audience.

We want to thank Paolo Sodi and Roberto Dall’Angelo for their professionalism and for sharing with us such a meaningful project.

With Sereva, A Papuan Tale, they remind us that filmmaking is not only about images, but about listening, respect, and the courage to tell stories that matter.

This documentary is a window into Papua New Guinea, but also a mirror that reflects back to us what we often forget: that happiness can be found in the essential, in connection with nature, in traditions that resist the erosion of time.

To our readers, thank you for following us on this journey. Stories like Sereva exist because people are willing to watch, listen, and be moved.

Read more about Paolo Sodi here.

Explore more about the work of S.D. Cinematografica, a company that for over 60 years has been at the heart of authentic and visionary documentary filmmaking.