By Jessica Herndon
One of the most exciting things about the Sundance Film Festival is having a front-row seat for the bright future of independent filmmaking. While we can learn a lot about the filmmakers from the 2025 Sundance Film Festival through the art that these storytellers share with us, there’s always more we can learn about them as people. We decided to get to the bottom of those artistic wells with our ongoing series: Give Me the Backstory!
We’ve all had someone who we feel truly sees us. Someone who accepts us for who we are and is willing to help fight for our authenticity and peace of mind. For many, that person is Dr. Maurizio Bini. Before retiring, Dr. Bini practiced in Milan, Italy, at the Niguarda public hospital, attending to those seeking fertility treatments and hormone treatments, including trans men and women. Gianluca Matarrese’s GEN_, a film that premiered in the World Cinema Documentary Competition at the 2025 Sundance Film Festival, captures the impact of Dr. Bini’s freethinking practice within an intensely religious and conservative society before he hung up his stethoscope.
“With this film, I want to say that there is no definitive right or wrong, even in our boldest desires,” says Matarrese. “We are the architects of our own future, and despite the challenges, sacrifices, and pain, we must take ownership of our paths.”
For the writer-director, GEN_ delves into “universal desires and the struggles people face to realize their dreams,” he says. Two of those wishes are parenthood and “affirming one’s profound gender identity,” he continues, adding that his film “explores the intersection of individual aspirations and the often rigid and restrictive socio-political landscape, shedding light on the resilience and determination of those who navigate these challenging waters to achieve their dreams and affirm their identities, free of charge.” Dr. Bini is a hero in GEN_, a film that asks, “how long will this radical and almost utopic version of public service continue to exist?”
Below, Matarrese touches on the challenges of working with a small crew and what filmmakers should remember to succeed. He also sheds more light on the issues he unpacks in his film and discusses the delight he felt when observing patients receive good news.
What was the biggest inspiration behind GEN_?
The biggest inspiration was likely the work of Frederick Wiseman, particularly his films Welfare and Hospital. These documentaries, with their meticulous and observational style, deeply influenced the approach to capturing the human dynamics and institutional mechanisms central to this film. Wiseman’s ability to immerse viewers in complex environments, highlighting both the systemic and the deeply personal aspects, served as a guiding reference throughout the creative process.
Films are lasting artistic legacies. What do you want yours to say?
I’d like my films to convey that intimacy is inherently political; what happens in our private lives reflects the broader dynamics of society. Our personal struggles and battles are echoes of those that shape the world around us. That’s why I love cinema and the kind of cinema I strive to create. I’m drawn to telling stories of ordinary people who, in their own way, become epic. In life, we are all heroes and monsters, and nothing is ever uninteresting. Cinema is a mirror of society, and every film serves as a testament to humanity at a specific moment in history.
Describe who you want this film to reach.
I want this film to reach the widest audience possible. For those already familiar with these topics or navigating similar journeys, I hope it offers a sense of connection and the motivation to keep fighting. But I also want to reach those who may not have any direct experience with gender transition or assisted procreation. My goal is for them to identify with the universal human emotions at the heart of the story — desires we all share, like the quest for parenthood, the complexities of relationships, and the affirmation of self-identity. Ultimately, this is a film about humanity, and I hope it resonates with anyone who watches it.
What was your favorite part of making GEN_? Memories from the process?
My favorite part was witnessing moments of good news for the patients, especially when it was something as crucial and urgent as a successful pregnancy or the start of hormone therapy for those whose desire was a matter of life or death. Seeing their reactions, their joy, was priceless. It’s in those moments that the human aspect of the work truly shines through, and the emotional connection becomes undeniable.
What was a big challenge you faced while making GEN_?
The biggest challenge was maintaining the right distance — being present to witness these delicate, emotional moments without being intrusive, while also being deeply engaged. It’s not a hidden camera, but rather a film that breathes alongside the humanity in the room. The technical challenge was equally significant. I needed to capture high-quality footage and sound in a cinematic way while keeping my presence minimal. The language of the film, the way the story is told through images, the choice of lenses and cameras, and how sound is recorded to create a clear and sensitive auditory environment, was essential to me.
Since I couldn’t work with a large crew, I had to be well-equipped and prepared to handle everything on my own. I spent a lot of time studying the method and the space, finding the best approach. You also can’t afford to miss a single crucial word or action, so I had to be fully focused, starting early each day. Life in a hospital is incredibly demanding, and I have great admiration for the professionals in this field. They have a true mission: dedicating their lives to their work — much like filmmaking for me. Of course, we don’t save lives with film, like a doctor does, but at least we can make people feel and think.
Why does this story need to be told now?
Our film is set against a highly explosive political and sociocultural backdrop in Italy and, more broadly, across Europe. The continent is currently experiencing a conservative wave, particularly concerning minorities and women’s rights. A significant issue is the debate over the use of puberty blockers for minors as part of gender-affirming care. Conservative parties are pushing for their abolition and seeking to restrict the rights of LGBTQIA+ communities overall. In the realm of assisted reproduction (ART), several critical voices from governing parties in various European countries advocate limiting access exclusively to heterosexual couples, further restricting the rights of trans individuals and their access to reproductive health services.
In Italy, where a right-wing coalition currently holds power, these issues are particularly sensitive, given the country’s religious and conservative background regarding minority rights, same-sex couples, and assisted reproduction, especially involving gamete donation, whether eggs or sperm. For instance, a bill currently under discussion in the Senate aims to make surrogacy, termed by Italian PM Giorgia Meloni as “the universal crime of rented uterus,” a prosecutable offense even when carried out abroad.
Our film delves into this heated political climate by focusing on an Italian public hospital that offers free healthcare in both assisted reproduction and gender-affirming therapies. Through the consultations in Dr. Bini’s office, involving both trans patients and infertile couples, including trans individuals who wish to become parents themselves, we witness the struggles of a dedicated public servant navigating this political minefield on a daily basis.
Dr. Bini and his staff face the daunting task of mediating between their medical judgment and the constraints of the current conservative-oriented legal framework. They must also contend with market pressures from private competitors, where the scope of permissible treatments is often broader than in public healthcare.
Our film reflects a typically Italian situation where chaos reigns and a certain degree of interpretation about what is legally possible and the extent to which the law can be stretched becomes apparent. For example, in Italy, embryos cannot be frozen according to law.
While this situation exemplifies an Italian paradox, our film addresses ethical, social, and legal dilemmas prevalent not only across Europe and Western democracies but also globally. Human suffering and desires, such as wanting to have a child or affirming one’s profound gender identity by changing appearance, bodies, and legal name, are universal. The negotiation of these individual desires within a legal framework, amidst ethical and sociocultural challenges, is a universal struggle, even if the specifics of the law might vary according to the content.
Tell us why and how you got into filmmaking.
I’ve always had a camera in my hands since I was 12 years old. I’d often force my friends and family to create stories with me or document everything around me. While it wasn’t immediately clear that filmmaking would be my path, cinema has always been part of my life. What I knew for sure was that storytelling was everything to me — and then cinema came into my life, becoming my instrument for expression.
I trained as an actor from a young age and moved to Paris from Italy to study at the Jacques Lecoq International Theatre School, all while pursuing cinema studies. Theater helped refine my ability to empathize with the world, analyze and observe human behavior, and develop my gaze. It was essential in helping me find my own artistic universe. I spent many years working as an actor in both theatre and film before transitioning into television, where I wrote and directed entertainment programs. I started with my own sitcom, where I was both showrunner and actor for the Orange Cinéma et Séries network, and later worked on reality shows, dating programs, and quiz shows across all French networks. Through these experiences, I learned a lot about working with real people and crafting compelling stories.
The turning point in my career came when I decided to make my first film, Fuori Tutto (Everything Must Go). I wanted to tell the story of my own family going through an economic crisis, using their struggle to reflect on the larger scale of Italian society’s economic crisis. I equipped myself with what I had learned and started shooting. The process took five years and 400 hours of footage. During this time, I developed my technical skills and honed my ability to see and capture the world through the camera lens. The film was released in 2019, and from that moment on, I never stopped making films. While working on my first film, I was already developing other projects. It felt as if I was possessed by a creative demon; I knew filmmaking was the medium through which I could truly express myself. It became a matter of life and death for me. All the experiences I’ve had, my background in theatre, my work as an actor, my time in television, and my studies in cinema and criticism, came together, and it all started to make sense. Since then, I’ve made nine films, I’m working on the next four and I’m already shooting my new project, set to begin next Christmas, with my family involved once again. This time, I’ll approach it with a new level of awareness and technical preparation.
Why is filmmaking important to you? Why is it important to the world?
I can’t recall the exact quote, but Federico Fellini once said he made films because life would feel empty and boring otherwise. I feel the same way. Through filmmaking, I can see life through a different lens, making it something worth living. Without it, I wouldn’t find much interest in the world. Films are important because they allow us to see things we might otherwise miss. They provoke thought, raise awareness, educate, immortalize moments, and, in some cases, provide an escape from reality. Like Doctor Bini in my film, filmmaking is a true calling for me, and I feel incredibly privileged to make a living doing it. It’s the best job in the world.
What is something that all filmmakers should keep in mind in order to become better cinematic storytellers?
I believe it’s crucial for filmmakers to understand that you can’t make a film entirely on your own. You can’t just stand on the outside looking in; filmmaking requires an entire ecosystem, and it takes time and a lot of effort to build that ecosystem around you. Of course, you need to meet the right people, but ultimately, you create your own opportunities. For a director, making a film should always be the top priority, and no matter the obstacles, you have to find a way to make it happen. There’s always a path forward. You can start by writing, filming, and once you’ve worked hard and clarified your intentions, you’ll be able to convince others to join you. Writing applications, learning how to shoot, and editing your work are all critical steps to honing your craft. The most important thing is not to wait for someone (a producer or broadcaster) to come and change your life. It takes hard work, and it relies solely on you. If you put in the effort, there’s no reason why you won’t succeed in making your film — it’s a matter of persistence.
Who are your creative heroes?
There are so many.
In film, I have a deep passion for genre films, but I can also be very intellectual. I love pop culture, but also appreciate sophisticated references. They might say I’m an “intello-pop” artist. My influences range from George Cukor for romantic comedies, Robert Zemeckis for his nostalgic ’80s vibe, Hitchcock for his masterclasses in thriller filmmaking, to Cassavetes for his experimental approach and exploration of the boundaries between reality and fiction. Of course, there’s also Godard and the Italian neorealism movement, as well as all the classic film nerds you study in film school.
In literature, I’m a huge fan of American writers like Bret Easton Ellis, A.M. Homes, and Truman Capote. In theatre, visionary directors like Krzysztof Warlikowski and Bob Wilson inspire me greatly.
I don’t know if I’d call them “creative heroes,” but they are certainly some of the personalities who have shaped and continue to inspire my creative journey.
What was the last thing you saw that you wish you made?
Anora by Sean Baker. He is a true master for me, a real inspiration. I love his cinema and his method of working with actors and reality. This film is a pure lesson in cinema.
Which of your personal characteristics contributes most to your success as a storyteller?
My excessive curiosity, my love for human beings, my empathy and listening skills, my obsessive tenacity, my oversized ambition, and high standards — and maybe a little bit of a big ego can help as well.
Tell us about your history with Sundance Institute. When was the first time you engaged with us? Why did you want your film to premiere with us?
I’ve always dreamed of being part of Sundance since I was young. All the directors and films I admire have come from that Festival. I’ve witnessed amazing careers unfold from there. The Festival’s program has always struck me as the perfect balance between creativity, political engagement, and wide audience potential, all at the same time. My film GEN_ truly needed this kind of platform for its premiere. I couldn’t have dreamed of a better place for it.
What’s your favorite film that has come from the Sundance Institute or Festival?
There are many, but recently, from two years ago, I was completely blown away by Rotting in the Sun by Sebastián Silva. I love his work and his exploration of the boundaries between reality and fiction. It’s exactly the kind of approach I also strive for in my own films.
