You worked on the TV series The Saints. Can you tell us about your character? Where was it filmed?

I had the privilege of playing Brother Elias in the episode dedicated to St. Francis of Assisi, which will air next year on FOX Nation, likely around Easter. The first four episodes, premiere this November 17th. The series provides a deep dive into the lives of eight saints, blending historical detail with emotional storytelling. As Brother Elias, I portray a figure torn between personal ambition for leadership and the spiritual ideals of St. Francis. Filmed across various locations—Morocco in my case—the stunning landscapes and historical sites truly brought the story to life. It was an immersive experience, particularly as part of a project made by a legendary director like Martin Scorsese.

How does Scorsese's cinematic vision come through in this series?

Scorsese's cinematic touch will be unmistakable in The Saints. He has a remarkable ability to bring historical narratives to life while adding emotional depth and spiritual complexity. The directors I worked with, Matti Leshem and Elisabeth Chomko, approached the material with both determination and an intimate style, effectively capturing both the solace and the burden of the character’s internal struggles. The attention to detail in the period setting, paired with stunning costumes and cinematography, established a timeless atmosphere that invites for a deeper exploration of faith and human complexity.

In your career, you’ve worked in theatre, from The Flying Theatre to Artbulance to Inferno and Purgatorio. How is the approach to theatre production in Denmark different from other countries you’ve worked in?

Working in Denmark has been incredibly rewarding yet challenging, as the Danish performing art scene emphasises innovation and a deep respect for the audience’s experience. We have a strong focus on immersive, often site-specific works, like our recent Purgatorio, which invites audiences to engage more closely with the themes of Dante’s Seven Deadly Sins. Compared to other countries, Denmark offers a unique blend of contemporary creativity and tradition. The interaction with different kinds of audiences—such as with The Flying Theatre (the first theatre based in an international airport) and Artbulance (an ambulance promoting art as alternative medicine)—really sets it apart. Denmark has been an ideal environment to create and nurture such alternative projects over the past decades, and from here, we’ve traveled to more than 30 countries worldwide.

What kind of theatre work do you enjoy the most?

As a spectator, I personally enjoy art exhibitions or movies more than theatre shows, as I’m deeply immersed in theatre every day. As a maker, I gravitate toward theatre that pushes boundaries and invites audiences to reflect deeply. This can range from intimate, small-scale performances to large, immersive works that integrate different art forms, like our Divine Comedy trilogy.

I’m also inspired by performance art that challenges perceptions, sparks conversation, and uses space in innovative ways. It’s about creating an experience that feels both personal and collective. Through the“theatre of otherness”—blending fiction with reality—we’ve also interacted with Danish communities in recent performative works under different alter egos.

Can you tell us about the project The Last Blow, which will be produced in Italy in 2025?

The Last Blow is an exciting project that blends contemporary issues with timeless themes of survival and personal redemption. Set against the backdrop of Italy's anthropological legend of the accabadora, it also focuses on euthanasia. The story depicts an Amish family gathered in a cemetery around the body of their son, who died by suicide due to love. Before “leaving” permanently, the protagonist must confront unresolved issues, helping him process his grief and shed light on the true emotional bonds within his family. It’s a story that resonates deeply with me, as it examines the complexities of love, loss, and cultural traditions. I’ve had this text ready since 2012, but every year something else always took priority. Now I’ve decided to move forward with the project next year in Italy. The staging may even take place in a real cemetery, as part of the city’s cultural activities, adding authenticity and immersing the audience in the narrative.

From Michael Mann's Ferrari to Ridley Scott's All the Money in the World, what does the cinematic future hold for Giuseppe Bonifati?

2025 looks very promising—15 years for DOO Performing Arts Group, nearly 25 years in the arts, and 40 years of life! It’s a milestone year. After working on Ferrari and All the Money in the World, I’m eager to explore diverse roles that challenge me further as an actor. I’m particularly interested in high-level projects that combine historical depth with contemporary relevance. I’m excited to work with more great Hollywood directors and continue growing my international career.