Born in Naples, Florida and educated at Lynn University in Boca Raton, Vito Trupiano is a filmmaker whose work delves into the grit and introspection of American life. With a background in filmmaking and communications, and a deep personal interest in psychology and philosophy, Trupiano brings an introspective, yet unflinching perspective to his storytelling.
His debut feature, Wastecase (2017), is a darkly intimate character study unified by a red satin jacket, a striking visual device that anchors and propels the narrative set in Miami. Trupiano’s follow-up, Hellbent on Boogie (2024), is a frenetic, genre-blending odyssey of chasing dreams and survival that further cements his voice as a distinctive chronicler of emotionally resonant American stories. The film explores the failures of the education system, the challenges of autism, and the complexities of faith-driven communities.
Drawing inspiration from underground cinema, American counterculture, and existential inquiry, Trupiano’s work frequently examines fractured identities and moral ambiguity, while deliberately resisting easy answers.
Whether creating character-driven dramas or experimental works, Trupiano consistently delivers raw, visceral storytelling. His bold projects challenge convention and illuminate the darker, often overlooked sides of American life.
Can you talk about how growing up in Florida has shaped your perspective, and how that distinctly American lens influences the characters in your films?
Florida certainly has a feeling that I did try to capture with the movie, especially the more rural parts of Florida not often seen in movies, away from the beaches. I am American, but with Italian roots and culture as part of my upbringing, but I do feel American and am mostly interested in telling American stories. I come from a working-class family, so I guess that can influence my characters. A producer once told me I have an affiliation for “lovable losers” but to me they’re not losers, they’re just sympathetic characters trying to “make it”.
When did you get inspired to pursue filmmaking? Was there a specific film, moment, or experience that inspired you?
I was obsessed with Legos and building things as a kid. I thought I’d be a car designer or architect, but when I was seven I wanted the “Steven Spielberg Lego Studios Set” and my parents bought it for me two years later and I was never the same. Making stop-motion shorts with my Legos and action figures was the start I’d say. Then when I was 17 and graduating high school I heard a quote that said “when choosing your career, choose something that is adjacent to where you spend all your time” Most my time was spent making silly “Lazy Cow Production” skit videos with my brother. So I figured I’d do something within media and filmmaking, but found myself infected with the writer/director ambition.
Could you share some of the artists, filmmakers, or mentors who’ve influenced your work?
There are so many, I couldn’t list them all, and it’s constantly changing. Some of the key influences would be Francis Ford Coppola and Sofia Coppola, Derek Cianfrance, Federico Fellini, Michael Haneke, early Terrence Malick and David O. Russell, Harmony Korine, Sidney Lumet, Gaspar Noe and of course Stanley Kubrick. Philosophy is another love of mine – Albert Camus, Jean-Paul Sartre, and Viktor Frankl to name a few favorites.
Your film Hellbent on Boogie is a wild ride, full of rich characters. Can you elaborate on storytelling, style, approach for your characters?
Hellbent on Boogie took almost 5 years for me to figure out. Mainly because my first movie Wastecase took so much from me and left me with almost nothing in return, I knew whatever I attempted next would have to be worth it in multiple ways, but mainly in a personal and almost spiritual way. Alan and Quinn are two sides of me that I was able to put into characters to then have discussions with myself. This helped me come to realizations and find real truth in what I was writing.
Hellbent on Boogie explores deep themes such as; the failure of the education system for many in the country, challenges of autism, and the strength and complexities of a faith-based community and family. What inspired you to try to tell a story with these in mind?
They are what I’m close to. I was diagnosed as neurodivergent when I was young and it had a profound impact on me. I also grew up in a religious household. So these are things that felt important and personal for me and I wanted to explore them and find meaning in struggles with faith, dreams, and yes, the education system. But wrapped up in a dance movie that could feel like a modern answer to films like Flashdance, Dirty Dancing, or Footloose.
Shiloh Fernandez really stands out in this performance as Alan, Quinn’s Brother. There’s such an authentic, rugged warmth to him that feels effortless. How was it working with him as a director?
Amazing, Shiloh was in as soon as he read the script. We went through many ups and downs, he had never done a movie for this low of a budget and he didn’t flinch. He was so professional, brought a real understanding to the character, and his chemistry with Alyx was wonderfully natural and easy from the start. I think having him on elevated the project, he brought a lot of experience in so many ways, not just acting on screen, but also as a producer.
The chemistry between Shiloh Fernandez and Alyx Ruibal who plays his sister Quinn is fantastic. Was that something you discovered during casting, or did it develop organically through rehearsals and time on set?
It was always a focal point. We did a chemistry meet before anything. Flying Alyx out so we could all meet together and see if there was a real brother-sister dynamic that would be felt through the screen. It was effortless from the start. Shiloh being such an experienced actor and it being Alyx’s first ever acting role I think lended itself naturally to the dynamic of older brother younger sister. It was also at this chemistry read I was able to meet Emily Tremaine who was Shiloh’s girlfriend at the time, she ended up playing Rachael (Alan’s ex) in the movie and working great with both Shiloh and Alyx. The chemistry between actors is such an important element, but also very fickle to get right, it has to be effortless, and it was.
What was Alyx Ruibal’s experience with autism? Her performance as Quinn is so charming and tender, and audiences will enjoy her character’s journey to really push herself out of her comfort zone, and set her sights high. What was your inspiration for her story/character?
I knew I wanted an autistic actor. It was never on the table to have someone who’s not neurodivergent. Mainly because I come from more of a documentary/reality background. I want realism and to observe human mannerisms, not fake them. Especially at this low of a budget, it just simply wasn’t as interesting to me to have someone “play” autistic, I wanted to watch it and know it’s a very truthful and nuanced performance. Alyx was found online after 2,000 auditions from other girls. She is autistic and even an advocate online. She has a really inspiring story actually, it was clear she was the perfect fit after the first zoom we had. As for the inspiration to write Quinn; again I write what I know, for me, Quinn is the side of me that’s maybe a little naive, but is very ambitious and confident in what I love. So I was able to tap into that to help write her, also a lot of research. Watching tons of documentaries on autism and families dealing with different levels of autism was where a lot of the idiosyncrasies came from. Alyx herself also filled in a lot, so much lived experience and understanding came through with her portraying the character.
Their mother, Simona, played by Doreen Llerena, has a strong, controlling presence with her helicopter parenting. Her behavior of isolating her daughter Quinn, and pushing her toward mundane stability over artistic ambition touches on real working-class themes. How did you conceive that aspect of the story?
It felt truthful. Simona is dealing with the loss of her husband, she is overbearing out of love and fear. She’s trying to shelter her from anything that could hurt her, but that’s causing Quinn to be stunted in her growth. Another thing that felt close to me, how much do we share with our family and loved ones? How much do we shelter them at their own peril?
Quinn’s (Ruibal) passion for dance is a great celebration of life. Have you ever compromised your passions against real world pressures to not “rock the boat” and pursue more stable professional careers outside of the arts?
The entire story is in some ways about that. I really thought my first movie would bring me into the world of filmmaking and set me up for a career. That didn’t happen, I had to go back to work, but I was able to get work within the industry. I did everything from lighting to production, camera, writing, etc. Learning all aspects from the inside. That is in some ways the journey of Quinn. Wanting the big win, but settling for the smaller victory, working everyday towards a dream. A lesson I had to learn the hard way.
What’s your thoughts on the Christian backdrop in the world of Hellbent Boogie? Do you have experience in that type of faith-driven community? Did you grow up around that?
I was raised religious, but not in a community like that. I was actually working on a reality TV show and it happened to take place at that very community in the film. I was about half-way through writing the script and thought “What if the story took place here?” It created a sort of snow-globe effect for the story. Quinn was being sheltered in a nearly closed-off community. It’s sort of separate from the rest of the country, maybe even a little behind-the-times. I thought that was an interesting aspect and helped frame the characters for me.
Autism and Education are both national issues. How can great story telling and the art of filmmaking help impact how audiences feel about such important topics?
Roger Ebert once said that films are like “Empathy Machines” they allow you to step into someone else’s shoes. I think that’s incredibly acute and is one of the main utilities of the art form. Tackling topics from the “inside looking out” is much more effective than from the “outside looking in”.
The film’s stark, textured cinematography adds realism and a strong sense of place. How did you and Kenzen Takahashi develop the visual style and choose locations, especially in capturing small-town Florida and the presence of Christian faith?
The locations were slowly accumulated as I drove around for various gigs in Florida over the 5 years of writing the script. As for the cinematography, Kenzen is one of the few people to match my obsessions, we both love prep, but he has a very clean style, I wanted to dirty him up a bit, this way I could get a bit of both. We used an old lens, pulled focus from the barrel, and used lots of natural light. We approached the movie as if it were being shot in the 70’s, but had new technology and a sharp sensor. So the film could feel new and old at the same time, which felt right for the story, it has a foot in both something old and something new.
What’s next for you?
I’ve since moved to LA. Writing two scripts I’m close to finishing. One is a smaller budget suspense/thriller. The other a much more ambitious action/comedy.
