Federico Wardal: From Fellini’s Legacy to International Cinema
In the world of cinema and theatre, there are artists whose careers are defined not only by the roles they portray, but also by the stories they choose to tell and the cultural bridges they create.
Federico Wardal is one such artist. With a career that connects cinema, theatre, television and international cultural projects, Wardal has developed a distinctive artistic identity and an international presence that continues to evolve.
His connection with the artistic legacy of Federico Fellini, his work as an actor and filmmaker, and his involvement in projects inspired by important historical and cultural figures have contributed to a career characterized by creativity, cultural dialogue and international collaboration.
Among his recent projects is “Anita,” a film inspired by Anita Garibaldi, which has attracted international attention and recognition.
Federico Wardal was honored at the San Francisco New Concept International Film Festival for his performance in “Anita.”
This recognition adds another important chapter to an artistic journey that continues to connect different cultures, generations and forms of artistic expression.
In this exclusive interview, Dimitrios Kannavos speaks with Federico Wardal about his artistic journey, his relationship with cinema and theatre, the influence of Fellini, the story behind “Anita,” international recognition and awards, and his vision for the future.
An artist, a storyteller and a man whose journey continues to cross borders through cinema and culture.
Federico Wardal – Exclusive Interview
Dimitrios Kannavos : Federico, your artistic journey has connected cinema, theatre, television and international cultural projects. How would you describe the journey that has brought you to where you are today?
Federico Wardal
It was a dramatic conflict between fame, the catalyzing effect of my presence, the invention of "Wardal," and my own personal and artistic growth.
I started out as a teenager, a guest star on major Italian shows, armed with a powerfully seductive allure, was written and said;
I captivated vast audiences with a repertoire of acting and singing fueled by a spirit of freedom, nonconformity, provocation, and anti-racism.
I was especially welcomed by Marlene Dietrich, a global anti-racist film legend, who introduced me to the very pinnacle of Hollywood royalty, such as Frank Sinatra, Joan Crawford, and Gloria Swanson, as well as immortal creators like Billy Wilder and Alfred Hitchcock.
I deeply inspired the latter two because I "embodied" elements—qualities they described as "impossible to find" in reality—that existed only in their imaginations.
At the same time, Federico Fellini wanted to meet me; after he transformed me into a "Felliniesque image," his friend Andy Warhol also coveted that image.
Unable to secure the rights from my manager, Warhol drew heavy inspiration from my look for a collage featuring Liza Minnelli and Stallone, using the model Iris as a stand-in.
Dimitrios Kannavos : You have been closely associated with the artistic legacy of Federico Fellini. What did Fellini mean to you personally and artistically, and how has his influence shaped your own work?
Federico Wardal
I said: “Fellini strongly desired to meet me,” and no one at that time could reach him at the top of his fame.
When that meeting finally took place, the human connection between us was an explosion of energy, and Fellini’s imagination became infused with a new vitality.
Like Wilder and Hitchcock, he found in me elements that embodied specific facets of his own imagination.
That was the nature of my influence on Fellini.
And his influence on me?
I embraced his presence in my life as a magnificent star—a paternal and artistic anchor, if you will, a source of belief in my own creativity—yet I have always possessed my own unique way of creating and imagining.
When I met Fellini, despite being a minor, I already had a distinct artistic vision; while this shared certain esoteric elements with his, one cannot say that my creative processes were directly influenced by him.
Let us simply say that our creative sensibilities were quite closely aligned.
Dimitrios Kannavos : Your film Anita focuses on Anita Garibaldi. What inspired you to become involved with this project, and what aspect of Anita’s story did you feel was especially important to bring to international audiences?
Federico Wardal
On August 19th, the film Anita sent the Brazilian audience at the Gramado Film Festival into a frenzy—but in truth, it was me, as a person, who drove the crowd wild when I walked the festival’s grand red carpet on several occasions.
Thus, the success of Anita is tied to me personally and to my acting ability—an ability recognized with the "USA Excellence in Acting (Film Monologue)" award.
In the film, I portray Giuseppe Garibaldi’s grief over the death of his wife, Anita—a woman with whom he had dedicated his life to the cause of freedom.
I, too, have done and continue to do the same.
Anita, Giuseppe Garibaldi, and I—united for freedom.
This was another element that sparked ovations and acclaim from the audience.
Audiences crave real, authentic characters—people willing to go to any lengths for their beliefs; only then does the audience—the soul of every individual in the crowd—connect with yours, and that is what creates success.
These are not mere words or bluffs, as so often happens in our film industry, but facts.
Dimitrios Kannavos :Anita has received international attention and recognition. What does it mean to you when a film inspired by history and culture manages to connect with audiences beyond its country of origin?
Federico Wardal
I have already answered: freedom knows no geographical or cultural boundaries; it is a fundamental value of human life.
Yes, in November 2025, Anita earned me the "USA Excellence for Acting a Film Monologue" award, while Andrea Ceccomori won "Best Soundtrack" and Francesco Garibaldi Hibbert—a descendant of the heroes Anita and Giuseppe Garibaldi—received "Best Film Concept"; these three awards were generously presented by the SF New Concept International Film Festival.
I must also mention that on August 16, 2026, I received a remarkable award from the LA Tribune International Film Festival for Kamusta kayo Dr. Rizal—a film about the Philippine national hero, magically directed by Jason Zavaleta.
Zavaleta is an accomplished young Hollywood director who also wrote the film Start on Market for me, a unique real story converted into fiction, which is currently in production.
The up-and-coming LATIFF has already established itself as one of the world's leading international film festivals.
It was founded by Moe Rock and Emily Le Tran and is directed by Sherry Gideons.
Dimitrios Kannavos : Your work combines acting, filmmaking and storytelling. When you approach a new project, what comes first for you—the character, the story, the historical subject or the visual idea?
Federico Wardal
It is simply my intention to contribute—however modestly—to the enlightenment of humanity that drives my creativity, inspired by true stories where justice and freedom have been almost suppressed.
I consider myself a discoverer of psychological keys that strike human beings at the very heart.
I cherish the lessons Greek tragedy teaches me at every moment, allowing my vision to range boundlessly into the future.
Thus, my works—whether in theater, cinema, music videos, or elsewhere—are rooted in the origins of theater yet are simultaneously futuristic.
Dimitrios Kannavos :You have worked in international artistic settings, meeting filmmakers and artists from diverse cultures. How important is cultural exchange for the future of cinema and theater?
Federico Wardal
Cultural exchange is fundamental to the progress of humanity.
I believe everything I do is animated by a cosmopolitan spirit—one I envision as being Greek.
I remain faithful to my ancestor Cleopatra VII, the last patron of the Library of Alexandria—a beacon of cosmopolitanism.
I donated ancient manuscripts from my dynasty to the new Library of Alexandria (Alexandria, Egypt); it is considered one of the most significant donations in the world, since it includes texts relating to the culture of every Mediterranean country, extending to Central and Northern Europe, and some manuscripts contain new unknown historical information and new and unknown plays of theatre.
All this can give birth to unique documentaries and movies.
Dimitrios Kannavos : You have received numerous accolades throughout your career. How do international awards and recognition affect you personally, and what do they mean for the projects you wish to realize in the future?
Federico Wardal
I accept only authentic awards—those resulting from top-tier juries and broad public acclaim.
I categorically reject awards that are deemed "important" yet honor mediocre or sub-par films and artists—awards that have become all too common.
I accept an award only if it reflects genuine appreciation from the public and high-caliber critics.
Only then do awards infuse energy into my artistic endeavors—both those already completed and those yet to be created.
Dimitrios Kannavos : Your career has included projects connected with important social and human themes. Do you believe cinema and theatre have a responsibility to create dialogue about society and human values?
Federico Wardal
That is the sole function of cinema and theater.
My current film and music video projects include Narcisse Fluid and Hollywood Golden Death, created with a team of distinguished figures such as the renowned psychologist Maria Malucelli.
All these projects clearly have a humanitarian dimension.
These projects are grounded in concepts of transformation (Moe Rock), identity (Jordan Shultz), and innovative emotion (Tony Esposito)—with whom I am planning Kalimba del Luna, his most popular composition, which has sold millions of records and special editions worldwide.
In these projects, where I play the lead role, the legacies of my friends Billy Wilder and Michael Jackson are rediscovered through the themes mentioned.
Dimitrios Kannavos : You have received numerous accolades throughout your career. How do international awards and recognition affect you personally, and what do they mean for the projects you wish to realize in the future?
Federico Wardal
I accept only authentic awards—those resulting from top-tier juries and broad public acclaim.
I categorically reject awards that are deemed "important" yet honor mediocre or sub-par films and artists—awards that have become all too common.
I accept an award only if it reflects genuine appreciation from the public and high-caliber critics.
Only then do awards infuse energy into my artistic endeavors—both those already completed and those yet to be created.
Dimitrios Kannavos : At the San Francisco New Concept International Film Festival, you were honored as “USA Excellence Actor in the Monologue” for Anita. What did that moment mean to you, especially receiving the recognition in front of such a large international audience at the historic Herbst Theatre?
Federico Wardal
It is a great honor for me, as well as for Andrea Ceccomori and Francesco Garibaldi Hibbert.
It was certainly a deeply moving experience and a complete surprise. I am not easily moved or surprised.
The Herbst Theatre is a prestigious venue, linked to the founding of the UN and the proclamation of Human Rights.
I believe this award marked the beginning of my rise to worldwide popularity.
This brings me great joy, as it is tied to my mission of liberating consciousness through creativity—a vehicle for progress, dialogue, and peace.
11. Looking ahead, what are your next artistic goals, and is there a particular story, character or international project that you dream of bringing to the screen or stage?
Federico Wardal
I’ve anticipated your question, but let me elaborate on what I said: the projects I mentioned explore and reveal misguided paths of existence; in doing so, they teach and provoke reflection.
With the advent of the Internet, humanity risks amplifying superficial, mechanical aspects while forgetting what it means to be human.
Displaying oneself in pursuit of fame is characteristic of those who fail to fill their inner voids—who do not love themselves, nor seek self-knowledge or personal growth.
I can consider myself a bridge between the Golden Age of Hollywood and the new, digital Hollywood.
I feel I was born of the old Hollywood—thanks to my strong, profound connection with Billy Wilder, a genius who explored the theme of fame in Sunset Boulevard—yet I also belong to the new Hollywood, which celebrates me and, I believe, views me as one of its new idols; though I am an idol who rejects the myth of stardom in favor of authenticity, thereby turning the dynamic on its head.