DREAMING OF VENICE

Sinossi

Vittoria è un’esuberante ragazzina di tredici anni che vive nella periferia di Napoli e sogna di diventare influencer. Suo padre, l’istrionico Fabrizio, per il suo compleanno, le regala un biglietto per sfilare sul red carpet di Venezia.
Inizia una preparazione bizzarra: abiti composti da ritagli di giornale, manicure, ricerca di outfit combinati, occhiali, lenti a contatto colorate e tante, tantissime storie sui social!
Ma il giorno dell’agognato red carpet, l’auto di Fabrizio, in autostrada, prende una svolta inaspettata…

(In)Felix

Un viaggio in un immaginario futuro che stiamo contaminando

Note di Regia
Quando, tempo fa, ho letto un articolo del geologo Giovanni Balestri che profetizzava, fatti alla mano, la fine della vita nella mia terra nel 2064, ho sentito l’esigenza di raccontare questo fenomeno mediante la settima arte. Certamente un lavoro cinematografico non può avere la pretesa di proporsi come panacea della drammaticità sociale che il fenomeno sta generando ma, come sempre, il cinema può dare un prezioso contributo alla campagna di sensibilizzazione che si sta mettendo in atto. Maria Di Razza

 

the cinema

O’cinema, as we used to say euphorically when we were kids. Each time it was an encounter with unbridled fantasy that gave us the possibility of travelling full speed through all the worlds of possibility.”
Enzo Moscato

A young Neapolitan takes a walk through his city.  He gazes at the people as well as the things about him with curiosity and transfigures them, at times drawing us into the personal, at times the cinematographic, world of imagination. The evocative power of sounds, visual impressions and old film clips come together in this journey into the heart of Naples.  The union of reality and fantasy is a pretext for reassembling the fragments of the history of a city and its wonderful cinema.

Today Together, Tomorrow Too

Today Together, Tomorrow Too is a compositionof faces, places and stories collected by different directors throughout Italy. OIDA – participated film conceived and curated by Antonietta De Lillo – composes a portrait of love at our times through fragments of different materials – documentaries, investigations, animations and found footage.
The casualness and the normalcy of the stories that we can see in this documentary are the key to express the most elusive of all feelings – love. The result is a complex image, that represents the density of our relationships in this moment of crisis and social transformations in which we live.
Forty years have gone by since the Italian referendum on divorce and Pier Paolo Pasolini’s Love Meetings. Today Together, Tomorrow Too  investigates the feeling of love portraying the changes in our country – the breakdown of marriage and traditional family values, the human and economic crisis, the lack of work, the change of sexual behaviour, the bio-technologic revolution, the growth of immigration and the difficulty in confronting cultures that are different from our own.
We chose to startfrom the darkest aspects of love -abandonment, intolerance, violence and hate. Through the street interviews and the stories collected by the directors that participated in the project, we will meet couples who have been together all their lives and people who have never met love, along withthe those who have to cope with the harsh feelings that usually follow a breakup. Traditional families, enlarged families, exploded families, recomposed families, new balances made of people who are willing to stay together even after their stories are over. Different forms of love, sometimes more fragile, sometimes more powerful and free go togetherwith the vision of the youngest people interviewed, who search for an absolute pure and true love that might be free of social judgement and of conditioning based on age, culture and gender.
The participated film by marechiarofilm shows love in its widest form, meaning not only a relationship between two people, but also the love of parents for their children, love towards strangers and love as an opportunity to elevate ourselves beyond ourselves, our selfishness and our fears. It is a confirmation that in our selfish society more and more concentrated on cynic and individualistic models, love is still the most powerful energy moving things and is often the best antidote to our solitude.

Let’s Go

 

 

The story of Luca is that of a 46 year-old photographer who has been forced to retire from life and love; it is also the story of many other people overwhelmed by isolation and the economic emergency. But Luca is also an artist who has begun writing a letter addressed both to an ideal love as well as to us all. He guides us in a cosmopolitan journey through experiences that are often more arduous than his and recounts the story of a person who is determined to carry on without anger while struggling not to be overcome by the events.

The crazy woman next – door

 

conversation with Alda Merini

Alda Merini tells her life in a personal and familiar narrative, fluctuating between public and private, lingering on the most significant chapters of her existence: childhood, womanhood, love, maternity and the relationship with her children, madness and the lucid reflection on poetry and art. The face of the poetess and the details of her eyes, hands, and body create a portrait that does not hide the contradictions of one of the most important and renowned literary figures of the twentieth century.

Director’s statement
Ever since i made Ogni sedia ha il suo rumore in 1995, i have always wanted to retrieve the precious unused footage from the encounter with Alda Merini. At the time, that material was entwined with Licia Maglietta’s performance, inevitably cutting out parts of the conversation with Alda Merini. This footage was recovered almost twenty years later thanks to the collaboration of Rai Cinema, becoming The crazy woman next-door, which restores that extraordinary encounter in its entirety
Antonietta De Lillo

 

A house on a knife – edge

In a c minor trio, a viola d’amore, a cello and a violin are capable of grasping the unforseeable from life and still play with its possibilities.

Giovanni (Luigi Pistilli) a womanizer enamoured of life, Teo (Riccardo Cucciola) an old school chum and meticulous collection of watches, and Maria (Marina Vlady) a childhood sweetheart, always ready to help her fellow compatriots in Italy, inherit an apartment in Rome. After an arduous beginning, this casual cohabitation brings new energies to the lives of all three.  The sudden death of one of them puts the surviving two in a quandary: should they cancel this experience and go back to the dreariness of their destinies, or rather continue on the path they have embarked upon towards a future together? 

The remains of nothing

It is as if De Lillo and De Medeiros were confronting and chasing after each other until they became a sole person in the throes of a marvelous utopia.
Bernardo Bertolucci

Portuguese noblewoman Eleonora Pimentel Fonseca,  the voice of the 1799 Neapolitan Revolution, together with other young Neapolitan aristocrats, battles for the ideals of equality, liberty and fraternity. All too soon, the blade of the Restoration falls on the founders of the short-lived Republic: their dream, which had briefly become reality, is shattered into thousands of pieces. The remains of nothing…”il resto è niente.”
The film chooses to recount the human and political events of Naples at the end of the 18th century by illustrating the precious hours preceding Eleonora’s death. The camera is set at the center of her soul, to record the suffering, hopes and passions of her entire life. Thus, the portrait of a courageous woman, modern and free, is created through the threads of memory.

Dr. Lucio Fulci’s day-for-night

A classic horror film? But it was I who made the classics!” interview with Lucio Fulci, master of this film genre.

A document/legacy of the great Lucio Fulci, master of the B-movie, whose work has inspired world famous directors such as Quentin Tarantino. Lucio Fulci treats us to a lengthy consideration on his way of doing cinema and his eccentric career, which is fascinating for its sincerity, irony and clearness of mind.

Angelo Novi, movie stills photographer

A journey into the memoir of our cinema through the words and images of Angelo Novi.

The film is a journey into the memoir of our cinema, from the years after the Second World War to the end of the twentieth century. The photographs Angelo Novi took on the sets of Pasolini, Rossellini, Leone and Bertolucci are commented by the original sound tracks of the films and by the same photographer who describes the precise moment he snapped them. We get to know one of the most important witnesses of Italian cinema through his tales that are full of anecdotes and emotion.