Simone Peluso: Director Of The Year
Fresh off his win at the Videoclip Italia Awards, Simone Peluso reflects on a year of cinematic storytelling.
Interview by Katie Huelin
Simone Peluso’s body of work this past year has defied easy categorisation.
Whether capturing the raw poetry of Me, July – Mundi, the psychological unease of Thirteen Pietro – Big Panorama, or the high-gloss precision of Angelina Mango – Melodrama, Peluso brings a distinct sensitivity and vision to every frame.
Named Director of the Year at the 2025 Videoclip Italia Awards (Vision Award, in partnership with Kodak and Panalight), Peluso speaks with us about his creative process, the importance of intuition, and why storytelling, no matter the scale, always starts with emotion.
First of all, congratulations on being named Director of the Year at the Videoclip Italia Awards! What does this recognition mean to you? Was music video always the goal for you or did your career start elsewhere?
Thank you so much! I’m really happy with the result, it’s been a productive year, and I’m grateful that my work has been appreciated.
I started filming when I was 14. I used to do parkour, and I enjoyed documenting myself and my friends during our training sessions. It began as a need to tell our story—those afternoons spent jumping around the city. Later on, I was introduced to music videos through my brother Romolo, who had his first recording studio in Bologna. He was a music producer, and just for fun we started collaborating on videos for some of the young artists who came through his studio.
And from there, I never stopped.
Your work featured at this year’s Videoclip Italia spans an impressive spectrum from the documentary-inspired textures of Mundi, to the conceptual darkness of Big Panorama, and the polished pop of Melodrama. How do you navigate such a range of visual languages?
I really love working across a range of styles. I’m passionate about imagining and precisely constructing visual worlds—and then telling those stories through images. I usually start by thinking about the emotions the track gives me, and whether I want to follow them directly or go completely against them. Then I move on to colour, and finally to building the actual scenes.
Let’s talk about Mundi by Me, July. What drew you to that world, and how did you work with Giuseppe Fuccio to translate his music and vision into a cinematic narrative?
Mundi was one of the most fun projects I’ve worked on in recent years. It reminded me of those early days when we created things purely for the love of making them. Giuseppe brought us to his hometown, Airola, between Naples and Salerno. We involved real friends from the area and cast little Agostino, who acted with us for two full days. I wrote the narrative together with Edoardo Pigliapochi—graphic designer and art director on the project, and one of my closest friends.
Mundi is like a small, truthful mirror of a hidden story, a popular narrative that deserves more attention. Me, July is an incredible artist, and you can feel his whole heart beating in his music. If all projects were like this, directing music videos would be so easy. All you have to do is dive into the artist’s world and translate their message into images.
With Big Panorama, you took on themes like mental health, addiction, and emotional paralysis. How did you balance surrealism and realism in the video, and what was the story you most wanted to tell?
Big Panorama was magical. I imagined this dark, surreal, yet grounded world. I love the idea of showing something absurd or strange—sometimes even simple—but that still makes you say “wow.” Enrico Rassu brought me on board and handled the art direction. I tried to follow his vision, where he and Pietro wanted to highlight some of the twisted concepts in our society that we’ve sadly become numb to. I told the story of a dystopian, apathetic couple who store bags of drugs in a fridge. Their faces are blank, and around them is total darkness—as if their field of vision is reduced to just a small radius. The beautiful set design was created by Maria Vittoria Giottoli, who helped bring this simple dystopia to life exactly as I imagined it.
That circular tracking shot in Big Panorama is especially striking. Was that a visual metaphor you had in mind from the beginning and how do you use movement in camera to echo psychological states?
That slow, mechanical circular movement helped deepen the dystopian feeling. It’s hypnotic, constant, and repetitive—almost like a metaphor for the cycles we get trapped in: the routines, the mistakes, the monotony. The same point of view repeated endlessly. It’s definitely not a joyful camera move, which made it feel fitting. The dark, desaturated look also adds to that mood. I liked the idea of keeping the same movement while changing the set design, as if to say: different situations, but always the same mindset. In the final scene, Pietro is completely absorbed by his phone, becoming the spokesperson for this story—one that reflects all of us.
With Melodrama for Angelina Mango, you leaned into a more pop-driven aesthetic. How important are elements like styling and choreography in shaping the visual narrative of a project like this? Also, how do you ensure your own directorial signature still comes through?
Angelina is a true pop star. She created her own choreography and came to set completely prepared, confident in what she wanted to express. Even with limited prep time, I think our artistic visions blended really well. I love building sets because I believe it adds a deeply personal and unique layer to the project. With Maria Vittoria, we built an entire house from scratch, choosing the colours and objects we wanted—no real location could have given us that freedom. This approach helps me bring my ideas to life with precision.
For Melodrama, I divided the video into two parts: one more grounded, set in the house; the other more surreal, taking place in a mirrored black limbo that reflected the more intimate parts of the song.
Videoclip Italia is known for highlighting both mainstream and niche voices in the industry. How do you see the role of platforms like this in shaping contemporary visual culture?
I think they’re absolutely essential—especially for more niche voices, where I believe the most authentic and magical parts of artistry come through. That goes for both the musicians and those of us supporting their work through visuals.
“I usually start by thinking about the emotions the track gives me, and whether I want to follow them directly or go completely against them.”
As someone working at the intersection of music, cinema, and visual art, what’s inspiring you right now—whether it’s directors, artists, movements, or even just moods?
In general, the more areas of knowledge I can explore, the more it fuels my creativity. I’m a very curious person, and every time I get to dive into something new, I try to absorb it and turn it into something visual. I’m especially inspired while travelling—my mind opens up and I can see things more clearly and creatively. I’m really drawn to spiritual and psychological themes right now. They definitely feed my drive to create new work.
Looking ahead, are there any stories or collaborations you’re particularly passionate about exploring next?
Right now I want to dive into more personal projects—things I’ve been putting off for years but now feel ready to focus on. I’m currently writing a short film, and I want to start developing work with a truly personal essence—projects that carry something of me inside them and that might also inspire or help others. I’m also really curious about documenting something while travelling. If you have any ideas, feel free to send them my way—I’m super open!