Tutti gli articoli di Lorenzo Brugo


Article by: Karima Vinti

Translation by: Greta Moroni

 Forget about the perfect family, the one in which a child grows up without problems, where both mum and dad have a job and nobody suffers from some kind of disease, whether it is physiological or pathological. The world of Cam (Mark Ruffalo) is that of a man, father and husband, who had a nervous breakdown. After this event, he was diagnosed with maniac depression, in other words a bipolar disorder. It is 1978, and the Stuart family is left alone dealing with this illness. Maggie (Zoe Saldana), Cam’s wife, has all the responsibility on her shoulders, as she has to work hard and take care of their two little girls. However, the family will have to face more problems.



THE SUGARLAND EXPRESS: fleeing to America in order to find ourselves

Article by: Matteo Merlano

Translation by: Ilaria Rana

 In 1974, two years later the unexpected success of ‘Duel’, Spielberg creates the most intimate and undervalued film he has ever produced. ‘The Sugarland Express’ is not a simple “on the road” film like those of that period but, as stated by the director from Cincinnati, it is a journey through love, the States and Cinema itself.

The story talks about two drifters who escape the law to retrieve their daughter, who is in the care of an elderly couple in Sugarland, Texas. After having sequestrated a police car and a police officer, they start a ruthless chase throughout the dusted and savage States

Steve Spielberg e Goldie Hawn sul set

The actors Goldie Hawn and William Atherton play the role of the two drifters. The latter is known for the role of the troublesome character of Walter Peck in “Ghostbusters” and some little roles in “Die Hard” and “Die Hard 2” in the 80’s.

Spielberg pays homage to most of the cinematography he loves: from Ford’s Westerns to Peckinpah’s New Hollywood. He also takes inspiration from his first short film “Amblin”.

This ‘on the road’ journey becomes the metaphor of an inner journey (like that of “Easy Rider”), which is shown here through the eyes of two parents who are willing to risk their lives just to find the thing they love the most: their daughter. Do we need to escape in order to find happiness? Do we need to have the whole world against us to find what we love? The answer is… yes. We need to accept the consequences of our choices and we have to fight and flee in order to find what we really are and want. The main characters know it, and they will accept their role in the world. Are they damned people or criminals? Of course not. They are simply human beings.

Vilmos Zsigmond’ photography is beautiful, while John Williams, composer of the country soundtrack, became Steven Spielberg’s friend and composer from this film on.

When it was first released, this film did not meet great public success. However, it was rediscovered later. Here is a final anecdote: in “The Blues Brothers”, the popular scene of the chase with dozens of police cars is an ironical reference to “The Sugarland Express”.

una suggetiva panoramica di The Sugarland Express



Article by: Alessandro Arpa

Translation by: Ilaria Rana

 Can you imagine a Manet painted by prisoners? This is “Anuncian Sismos”, the first film by Rocio Caliri and Melina Marcow, two young Argentinean directors. This film, produced by Hulot Cine, draws inspiration from a real story. A small town located in the north of Argentina has been affected by several juvenile suicides, and the town decides to adopt a solution to solve this problem.

The film doesn’t explain why these suicides happen, but it stresses the consequences of these events on a group of youngsters. The final result is a 68-minute film without a specific aim. Its fragmentary narration is interrupted by inserts of petty philosophy. Although interesting, the film seems to be unclear and full of random elements. Furthermore, this situation doesn’t disconcert the main character, Mariano, who has a girlfriend with whom he spends some romantic and pathetic moments and he also has fun with his school friends.

It reminds us of Apichatpong Weerasethakul’s cinema, but it hasn’t its same poetic charge. This time the Turin Film Festival has chosen a nerve-racking film. “Anuncian Sismos” is not a film for an old people’s home, as someone would risk to drop dead.



Article by: Ilaria Frare

Translation by: Paola Pupella

After playing for years  the role of Theresa D’Agostino in the HBO series The Wire, the actress Brandy Burre decides to abandon her acting career, in order to devote herself to her two children and her partner Tim Reinke. She moves to Bancon, in the suburbs of New York, and she ends up in a world that catches her totally unprepared; nappies, bills and meals to be cooked do not seem being made for her.

Over the years, the woman starts feeling the pressing need to come back in the limelight; and the director Robert Green decides to go along with her, with his camera, through the re-integration in the frivolous world of show business. Without interfering with or criticizing, Robert Green glances carefully at the protagonist’s clear frustrations arising from the restrictions of a home-centered life, which Brandy can forget just when she meets her fellow actors for a cocktail in a pub in Manhattan.

Actress is a documentary without any interviews or any cumbersome statements, where the tones of fiction and the features typical of melodrama alternate, by creating a HBO-style hybrid. Everything is harmonized by a continuous and spontaneous stream of consciousness, that sounds a lot like an admission of guilt: “I know what I did, because I’m clumsy. Perhaps not very graceful. “, states Brandy herself.

In little more than a half-hour documentary, the public participate in the parable of Brandy’s life, a woman apparently changeable and ungrateful, but who, finally, reveals herself as a person fragile and overcome by the inability to deal with the consequences of her choices, with the missed relationship with her partner and with a continuous sense of frustration, as she never feels up to her own duties as a mother, as a partner and as a professional.

Brandy’s choice was not easy; it was probably the hardest one in her life, but, to some extent, we can understand how her decision has led to the greatest happiness as well as the main pains, by leaving us the sensation of a dazed woman, who does all out to keep her life going, though clumsily.




Article by: Nicola Gambarino

Translation by: Elettra Abatucci

 Zachary Orfman (Dane DeeHan) is a rich middle-class boy, who lives in the wealthy district of Brian Grove. He lost his beloved girlfriend Bethany (Aubrey Plaza) due to a snakebite. The Slocums, Beth’s parents Maury (John C. Reilly) and Geenie (Molly Shannon), try to develop a filial relationship with Zac in order to keep Beth’s memory alive. They grieve, they chatter about the puddings that she liked to eat in her childhood and play chess until three in the morning.

However, Beth will soon literally get in touch with them, as nothing ever happened or as it was all just a trick. It seems like somebody in heaven decided that it was not her moment to push up the daisies. She is then ready to restart her life without having memory of what happened. With the help of her parents, Zach and Beth can live again their love story where they interrupted it; he seems to love his girlfriend if possible more than before. Then many strange things start happening in the neighborhoods, arousing Zach’s worries. At first, he was skeptic and joked around the fact of having a zombie girlfriend, but he will soon realize that it is the truth. It is only a matter of time before many departed ones decide to revive in order to hug again their beloved relatives… and possibly give them a bite.

Forget Joe Dante. Leave John Landis. Forget the first Ruben Fleischer as well. Jeff Baena, a brilliant first timer, sets George Romero’s revenants free in the streets of a smiling Suburbia, where Jewish Cabala clashes with Haitian voodoo, and the Yankees more Yankees than ever always keeps up with his stereotype: holding a Bible in one hand and a Desert Eagle in the other, feeding himself of B-movies and paranoia.

Dead people no longer rest in peace, as they have awakened in a bad mood, claiming rights that died out together with them. Love wins over death, but not over hunger, (there are many two-ways in the background playing on physical and sexual hunger). This politically incorrect comedy also denounces the absurdity of the US wealthy middle class, spiced up with a marvelous soundtrack provided by Black Rebel Motorcycle Club.

“I’m a zombie. How the fuck am I supposed to behave?” yells the amazing Aubrey Plaza to her boyfriend Dane DeHaan (another big revelation of the underrated fanta-mockumentary Chronicle by Josh Trank [2012]) while eating avidly his Saab’s seats. Exactly. How? Human nature, alive or not, is the central theme of this beautiful, yet wacky fairy tale, which mixes horror and drama. It is disturbing, but funny at the same time, it also cleverly speaks about human feelings, and relationships, making the audience reflect upon an issue: do we really wish our relatives departed for a better place, to return?

WHE ARE WHAT WE ARE: what we fear the most

Article by: Emanuel Trotto

Translation by: Giulia Magazzù

 Who said that a remake is a less important film than the original? Certainly, if in the new product does not provide anything more – or even less – of what was suggested in the model, then the answer is “yes, it is just an unnecessary duplication”. Many recent operations of this kind prove that this theory is true (Carrie by Kimberly Pierce, for example). However, if starting from the original product we decide to take a completely different way, working on elements that become peculiar of the new feature, then we have something more: think of The Departed by Martin Scorsese and of the relationship with Andrew Lau’s Infernal Affairs. These two films are completely autonomous. Jim Mickle’s We are What We are belongs to this category.

We are What We are is a re-imaging of the Mexican film Somo the que hay by Jorge Michel Grau (2010). If the “prototype” (if we can define it so) is set in the streets of Mexico City, Mickle sets his work in the province of Castkills, the poorest area of the state of New York, anguished by floods. The floods bring out numerous buried human bones, not far from the home of the Parker family, which is mourning the death of the mother. The family is dominated by authoritarian father figure of Frank, who obliges the three children (two teenagers, Iris and Rose, and little Rory) to a period of forced fasting in view of an important ritual of which, since the mother has died, the eldest daughter Iris becomes the main celebrant. It consists of killing young women and then feeding themselves with their flesh.

Especially in this part, Mickle’s film differs widely from the original: eating human flesh is not something related only to a routine or to something ancestrally necessary, but it is much more: it consists in literally taking into account the evangelical concept of feeding oneself with the body of the Lord (as a matter of fact, the story unfolds between Friday and Sunday). It is also something atavistic, primitive, which survives in the tribal cultures, where the body of the defeated enemy is both a source of food and of the power of the winner. The victims are girls, and the story revolves mainly around the two older daughters: they are a little more than teenagers, with a irrepressible and longing sexuality that the father-master nips in the bud. Feeding on the sexually active (or immature) bodies of the victims gives them the power to get along without the carnal impulse. The temptation of the flesh with the flesh.

Genre films, and especially horror films, have always fielded the uncertainties and fears of the times in which they were filmed. Jim Mickle, who has always loved horror movies (his favourite movies are The Evil Dead by Raimi and Suspiria by Argento), uses them as a tool for a strong polemic against the institutions, a second level running parallel to the horror theme, as he had already done in Mulberry Street (2006) and Stake Land (2010).

Here, with a gothic film style setting, he focuses on religion, its madness, its most hidden side. Taking quite literally Stephen King, who argues that “in order to scare the others, we need to talk about something that scares us”, he sketched a dark film that speaks of faith that, in real life, can be terrifying. And the fear of the unknown that religion gives us is more frightening than anything else.


“TÔI QUÊN RÔI – I FORGOT!” and “LA HUELLA EN LA NIEBLA”: let’s let young international director have their chance

Article by: Alisa Marghella

Translation by: Giulia Magazzù


After Pude ver a puma, Eduardo Williams comes back to the TFF with another short film, Tôi quên rôi – I forgot!, which preceded the screening of The huella en la niebla.

With Tôi quên rôi – I forgot!, the young Argentine director proposes a longer film (maybe too long, since it had to precede the next film). It is a twenty-six minute movie that  discontinuously portraits the anonymous lives of some guys who spend their days between work, hanging out and parkour. He portraits a fragmented generation, ready to jump from one roof to another, who lives in a suspended reality.

In the director’s words, «This film came to me as an opportunity to locate myself in the hypothetical place that I prefer when I direct or watch a movie, or far from any certainty. I always try to get lost in these experiences, in order to generate a vacuum that gives me the opportunity to exceed my limits». The picture that emerges is that of an unnerved and unnerving everyday life, exasperated by the use of hand-held cameras. The plot is too incomplete and the photography annoying, except for the last shot that clarifies to the viewer the sense of the fragmentary nature of the scenes.

La huella en la niebla is certainly a more pleasant movie. Directed by another Argentine director, Emiliano Grieco, it tells the story of Elias, a wounded man who returns to his island in order to rebuild his life. The wound, however, does not heal, and despite his efforts the fog ends up swallowing him.

Grieco does not employ a real actor, but a fisherman. He uses no dialogues at all, but water looks like the real star of the film. Considered as the conclusion of the documentary The Son of the River, the first work of the young director, this film lies somewhere between the great stories of Dickens and Conrad and documentary, making a good use of photography. The contrast between in focus and out of focus images serves as a narrative liaison, allowing the director to take advantage of the suggestions offered by the landscape to describe the emotions of a man trying (to no avail) to find traces of the past through the river. Overall, though, the narrative results are extremely “confusing” and the goal of placing the character in an interior limbo, unfortunately, leaves the viewer in that limbo too.


Article by: Alessandro Arpa

Translation by: Greta Moroni

 Mange tes morts is the worst insult one can ever say to a gipsy, and it is also the title of the new work by Jean-Charles Hue. This director took part in the 2009 Torino Film Festival with Carne Viva, a portrait of Tijuana reality.

This full-length film by Hue is a story of formation that in the end becomes a road movie with existentialism features. At the beginning, the film is a documentary set in the Jenisch gipsy community. The story, which may seem too simple, consists in a journey among the “gadjo” (not gipsy people) to steal a load of copper.

The French director shot a film based on the Hamletic doubt spread among Jenisch people: the choice between baptism and the consequent submission to the atavistic Christian morals or the choice to take up a career as a master thief.

The main character Jason Dorkel – a 21st century Hamlet in Nikes – chooses the first option. But Fred, Jason’s stepbrother, compromises the calm of the community. After fifteen years of jail he comes back into the Jenisch community without changing his behaviour: he is still a criminal.

Zvyagintsev was right: the return is the most ferocious butchery of the conscience. Fred is like evil that sodomises the weakest people and leads Jason to his ruin. Until then, he was depicted as a lamb doomed to hellfire.

From now on, the film becomes less united than the first part. There are a number of surreal scenes, like the one in which Fred bravely challenges police officers that seem bored psychologists ready to listen to their patients’ troubles. Actors pretend a solemnity that does not pertain to them and often improvise in an unexpected way. Mange tes morts is a nice film but it is also defective, it is interesting but also far from being a masterpiece.

The Theory of Everything

Article by: Barbara Vacchetti

Translation by: Simona Restifo Pecorella

“This is not a story about a disease, but the story of a human relationship”, said Eddie Redmayne yesterday at the press conference of the Turin Film Festival. He is the protagonist of ‘The Theory of Everything’, in which he plays the astrophysicist Stephen Hawking. Actually, that is what the film is all about: it is a love story. Between whom though? Between Stephen and his first wife, Jane, or between Stephen and physics?

The film is the adaptation of the autobiographical book ‘Travelling to Infinity: My Life with Stephen Hawking’, written by his first wife. It starts right from the first meeting between them, and then proceeds along the years, when they were in love and supported each other, when they created a family and when finally got separated.

Despite the serious tones, it manages to be funny in some moments. The two references to the famous British series ‘Doctor Who’ were particularly interesting and gave it a decisive British print.

Playing the role of Stephen Hawking has not been easy, but the charming interpretation of charismatic Eddie Redmayne convinced everyone right away – maybe also earning him an Oscar nominee for best actor this year. For the time being, however, he has received the Maserati award last night in Turin.

Eddie Redmayne ritira il premio Maserati
Eddie Redmayne received the Maserati award

Yesterday morning, at the press conference, the British actor told us that he was eager to participate in the film project but, as soon as he obtained the part of Hawking, he realized the difficulties this role could entail. In fact, dancer and choreographer Alexandra Reynolds followed him in the preparation of his role by teaching him how to move his body properly and to use only certain muscles. Moreover, the actor went to a specialized clinic where he could study the physical and emotional troubles caused by ALS illness.

Eddie Redmayne in conferenza stampa
Eddie Redmayne at the press conference

Interpreting this role certainly involved a very hard work, both physical and psychological. However, Eddie Redmayne stated that it was primarily the meeting with Stephen Hawking that helped him immerse adequately in the role and make him understand even the smallest aspects of this wonderful, iconic man, who wants to reveal us something more than the mysteries of the Universe.

The film focuses precisely on this point. It does not say much about physics, black holes or Hawking radiations, but it rather concentrates on human relationships. The difficulties encountered along the way can only be overcome with a tremendous force of will and with the affection of caring people. It is a study on love and on different ways of loving. That is what the “theory of everything” is really about.


Foto di Bianca Beonio Bocchieri



Article by: Ilaria Longo

Translation by: Carla Cristina Loddo

 Bacau – Turin: a distance that keeps seven children apart from their mother, who works as a caregiver in Piedmont and will go back to Romania only in summer.

Georgiana is the oldest daughter, who takes care of her younger siblings and does the housework. Their days pass in a typical way for children their age: they wake up, get dressed, and someone always cooks dinner for them. However, a fifteen-year-old girl forced to grow up too soon is the one doing all of his. The mother’s phone call is punctual and she wants to talk to all of her children, from the youngest to the oldest, but she cannot stay long on the line because she needs to go back to work. She tries to fix this by sending them the awaited package from Italy, and the children wonder if their mum remembered to buy that desired toy. However, since she did not receive her pay slip, it contains only candies, snacks, and a present for Georgiana’s fifteenth birthday. “The next package will be for your birthday, this time is for Georgiana”, says their mother. It is a life of games for the youngest children and of washing machines, dinners and lunches for the oldest. When a baby tooth is lost, when the candles are blown, with a word on the phone, the wish is always the same “I hope that mum will come back soon

Waiting For August 2

Even if the first shots are cold and snowy, the air you breathe in that house is positive and warm. Georgiana’s figure is the most relevant, as she immediately gets into the role of the homemaker and the mother, though ironically she says, “I will never have children”. She is able to keep some moments for herself, from the Argentine soap opera to a night with friends, even though every time weeping or caprices interrupt her. The viewer gets used to the idea of considering Georgiana a grown-up woman, but then realizes, almost with a smile, that she is a teenager worried about her first date, (for example, when she is looking for her foundation and bobby pins). You forget you are watching a documentary and that someone else is in that house. The film director, Teodora Ana Mihai, is accompanied by four Belgian operators, who enter tiptoe in the social housing condo in the outskirts of Bacau. Only the film director knows Romanian and whispers to the camera operators, explaining the various scenarios. Sometimes the international language of games and feelings is the one that overcomes: the languages are not an obstacle anymore. Five moments of shooting in nine months and more than 150 hours of shot film. They could have filmed more, dug deeper, but the respect for this young family’s privacy is huge.

The question is instinctive at the interview after the show: “where is the male figure?” As you can see in the documentary, in the Romanian domestic hierarchy the woman is in charge. In-fact, Ionut, the 17-year-old brother, is invisible, as he spends his days playing video games. The father has vanished after an ugly divorce, not sharing family moments anymore and it is not even named. The film director does not care about the life of this man: his absence demonstrates how alone the children are.

It is an intimate and delicate work, which speaks for itself and acquires even more weight after the confession made by the film director during the presentation of the film: “I was born in Romania during the communist period; when I was seven and a half, my parents left and found asylum in Belgium. To ensure the secret services that they would go back to their homeland, they left me in Romania”. Even though they came back after just one year, this experience marked Teodora Ana Mihai. History repeats itself and with this work, she wants to give voice not only to those who emigrate from their homeland, but also to those who are forced, like her, to remain in their homeland suffering the consequences.





In Jous Naam
Photo source: www.torinofilmfest.org

Article by: Fabio Olivetti

Translation by: Elettra Abatucci

 Among the films setting up Torino Film Lab, one is especially interesting: ‘In Jouw Naam‘ — in English ‘In Your Nameby Marco Van Geffen.

It talks about some dramatic events in the lives of a couple, Ton and Els, who have lost their newborn girl due to a rare disease. This leads them to struggle in order to restart their life.

Els is the first to recover: she takes comfort in throwing away all the furniture in the room of their baby girl. However, Ton is not able to overcome his loss and he gets upset about his partner’s apparent peace of mind, so much that he does not want to touch her, not even in bed. Even when Els got pregnant again, Ton cannot set free from the pain he is suffering, until tragic consequences arouse.

The director is able to transmit the sorrow and the agony of the characters without using conversation. Dialogues are minimal and useful only in terms of the development of the main plot. The scenes follow one another without any of the characters saying a word, but still the message clearly.

In Your Name’ is Van Geffen’s second work, awarded with the ‘Prix Art des Relations Internationales’ at the Festival of Cannes. It can be considered one of the most prestigious products obtained with the help of Torino Film Lab this year.

TorinoFilmLab – Mr. Kaplan

Mr Kaplan
Photo source: www.tercerojo.uy

Article by: Fabio Olivetti

Translation by: Greta Moroni


Mr. Kaplan is the second film by Alvaro Brechner, a director who had a great personal success in 2009 with Mal día para pescar. He gets back to film direction thanks to the Torino Film Lab, too.

Jacob Kaplan lives in Montevideo, Uruguay. He lived the atrocities of the Nazi persecutions in Europe and did not forget his Jewish origins. When he hears that a German man lives and works near him, all the terrible feelings related to the period of the Second World War resurface. He knows about what Simon Wiesenthal did in 1960: he worked for the seizure of the Nazi Adolf Eichmann. In the same way, with the help of a family friend, a former police officer, Jacob tries to carry out investigations in order to arrest his enemy and move him to Israel for the trial.

This event will push the protagonist beyond his physical limits trying to pursue his ideals and maintaining his dignity. He’s trying to get his revenge, which is within his reach.

In this film both comedy and detective story features are perfectly mixed together. There are comical situations, based on the personalities of the two main characters. One is determined to reach his goal, while the other one wants to find a way to regain his family’s respect.

This film is the boast of the Torino Film Lab. It has been chosen for the 2015 Oscar nomination for best foreign language film. It is a funny but undoubtedly composed film, which encourages defending your ideals as well as pursuing justice and truth, even many years later.



Article by: Elisa Carbone

Translation by: Licia Ficulle


“Qui” (“Here”): a simple word composed of only three letters.

Anyone hearing this word gets confused, with an unconscious question mark impressed on their forehead, because that single word doesn’t explain the theme of the film. However, since the first scenes we understand that this adverb, “qui”, is related to a place, a specific location in Piedmont: Val di Susa. Everyone knows at least something about the thorny matter of TAV, or rather NO TAV. Sincerely, I expected grouches and quite irascible characters, but I made a mistake. In fact, the first protagonist chosen by Daniele Gaglianone (the director of La mia classe, I nostri anni and La ferita, his lasts film) is a middle-aged woman, a smiling pilgrim who goes every day to Chiomonte because of religious reasons. Unfortunately, since the construction site for the Turin-Lyon high-speed train started, part of her itinerary has been closed with an unusual barbed wire fence used only in Israel, so the woman is forced to walk.

Gaglianone introduces ten Val di Susa’s people, who suddenly have been surrounded by building sites, new insurmountable boundaries, and the commitment to exhibit their ID’s many times to functionaries; no matter if their houses are close and previous to those new fences. We don’t know the names or something else about the characters; we know just what they narrate during the interview. There is the Radio Blackout speaker who recalls the tragic moments during a police’s riot attack: he wanted to describe what happened but he couldn’t speak with the gas mask, so he removed it and tried to breath in spite of tear-gas. The mayor of Venaus says: «I was on my citizens’ side, knowing to be on the State side: on the other side (with reference to the police during the attacks) there was something more».

And there is even an old nice lady, a farm owner in this area “NO TAV”; she recalls her protest against the demolition of a house: she chained herself, with handcuffs bought in a sex shop, and she didn’t even know how to open them.

“Qui”, narrates histories of “normal” people, citizens that demand justice to a State who never asked them anything about the TAV project, a State who destroys their land and puts in danger the health of everyone (everything written in the official project), and moreover, a State who «deletes the human dignity linked to everyday life».

This documentary is surely “biased” but it would be helpful and educational to broadcast it on network at national level, where the NO TAV supporters are usually presented like violent and irrational people.

Maybe we can understand why these people rise up against TAV. This problem does not concern, only, Val di Susa’s area because, as Gaglianone explains: «the stories reveal, behind the urgency of the event and the modernity, a dimension that goes beyond the triggering causes of the conflict. So, “qui”-“here” is not elsewhere: it is everywhere».

And that is why everyone should be interested in it.



Article by: Karima Vinti

Translation by: Giulia Magazzù

Felix and Meira are completely different. He leads a life without responsibilities and family ties. His only concern is to squander the legacy of his father. She is a young Jewish woman, married and mother of a child that lives bored inside of her community. There is no strange connection between them, yet they meet by chance and fall in love.

Although set in a present-day Montreal, this romance unfolds like an episode set in another century. From the first shots, you notice the strange dresses in this Jewish community that recall the costumes of the past century. The women wear clothes that do not emphasize their femininity and their task within the community and their family is very narrow: they must ensure procreation, sometimes giving birth to six, eight or even fourteen children.

However, all these things fit Meira snugly. She loves listening to contemporary music, drawing and living like a normal person, but her husband forbid all these activities. When she meets Felix, his extravagance manages to conquer her heart, while undermining all the certainties of the woman.


‘Felix et Meira’ is the third work of the director Maxime Giroux, who has already participated at the Turin Film Festival in 2008 with his first full-length film ‘Demain’.

The director states to have shot this film taking into account the vulnerability and restlessness of the characters, trying to follow with the camera all their movements and trying to seize their humanity. He portraits a love story that seems difficult, and yet stronger than any social restriction. Within the film nothing is emphasized, not gestures, not words nor their love. It is a pure and silent love that looks for a way out to get in with the long-awaited happy conclusion.


Article by: Matteo Merlano

Translation by: Giulia Magazzù

 American experiments ride along familiar roads. Filmmakers play with pre-existing genres, distorting, shrivelling and demolishing them. It is the case of this bizarre film by New Yorker director Andrew T. Betzer, which already been presented at the Tribeca Film Festival and has now landed in Turin in the Waves section. The film portraits the flight of two brothers (Gabriel Croft and Hale Lytle), guilty of the murder of a girl, through a disorienting and lost America, inhabited by freaks, nostalgic for the Reich and the war in Vietnam (as the bizarre character of an old “freak”).

Betzer depicts an unforgiving portrait of his country shot in a quite handcrafted way. ‘Young Bodies Heal Quickly’ shows us a lost and crazy version of the US, just like the two young protagonists who are running around the country without an existential reason. So far, the idea is interesting and the dirty and blurred photography conveys this alienating effect. Eventually, this style weighs and after the first hour, the story goes completely off the visual and editing rails. Experimenting does not mean raving and the impression we had leaving the cinema is that in several parts Young Bodies Heal Quickly got lost, dragging the viewer in this disorientation. The final climax is too long and dispersive and putting an explicit sex scene (cameo by Josephine Decker that, after the short film Violent Madonna Mia seems to take taste in expression of sexuality explicit) does not help the audience in finding his soothed attention.

Generally, the film is an interesting experiment and visual exploration of a possible new language of American independent cinema. It is always of Seventh Art, which requires implementing every available form. Maybe a little storytelling would not hurt, in a time when the real experiment is perhaps the tale. “But that’s another story”, quote.

PRIMA DI ANDAR VIA: A moving farewell among the living

Article by: Karima Vinti

Translation by: Renato Panzera

How would you react if one of your family members, or a friend, told you you that “tomorrow they are not going to be alive”? “Prima di andar via” could be the answer.

Directed by Michele Placido, this adaptation of the theatre show directed by Francesco Frangipane and written by Filippo Gili is about a family’s reaction to the son confessing his suicidal intentions. What causes this insane decision is that he cannot live without his wife, who died three months before. In a first moment they don’t understand whether Francesco (Filippo Gili) is telling the truth or he’s just talking nonsense. But Francesco is convinced of his decision and doesn’t want to go back. For him, nothing is worth it anymore, and he can’t picture his future with another woman because no one could ever be as great as Giovanna. The hug scene with his mother is touching, a hug that wants to last forever, full of love and pain.

The film was entirely shot in a small theatre. Lights and scenic design tend to give a sad, melancholic and furious air. The actors are not famous in the Italian cinematographic circle — with the exception of Giorgio Colangeli — but it’s worth writing their names: Filippo Gili, Michaela Martini, Aurora Peres, Vanessa Scalera, and Francesca Alunno. The actors succeeded in representing something that can really touch your soul. A fantastic interpretation from everyone, with no exceptions.

Michele Placido at the “Cinema Massimo” after the screening of “Prima di andar via”.

After the first view at the “Cinema “Massimo” on November 24th, Michele Placido, some of the actors and Francesco Frangipane talked about their work with an excited public which warmly greeted the film with a long final applause. Michele Placido stated that it had been a beautiful experience and that he had decided to make it a film right after he saw the theatre show.

Director Francesco Frangipane stated: “The theatre show has hardly been around. The only achievement was the possibility of playing the show at the “Elfo Puccini” theatre in Milan”. Next, the director reflected upon the quality of performances in Italy, maintaining that the actors in this movie have nothing to envy to the so called “famous actors”, even though more well prepared figures are needed in our cinema. “If Italian directors went a bit more often to the theatre, perhaps the Italian cinema would be more lively”. Finally all of the actors thanked Michele Placido. According to them, it is because of Michele’s generosity that this movie made it to the big screen.

Michele Placido with some cast members of  “Prima di andar via”.


Article by: Karima Vinti

Translation by: Ilaria Codeluppi

 Matt (Josh Lucas) is a saddened man, without any goals in his life; after a fight with his partner Andrea (Lucy Owen), he finds himself wandering around his city without a destination. In the meantime, Alan (Stephan Plunkett) and his girlfriend Farrah (Mickey Sumner) are discussing after an unlucky sexual intercourse, while preparing a party in their tiny apartment. At the party, Farrah spots Matt sitting in the living room.



Article by: Alessandro Arpa

Translation by: Ilaria Rana

“Filmmakers must be merciless, or they are for the catering”

Alberto Signetto was definitely merciless. He loved to consider himself as a rhino because he was a “treacherous, stubborn, fat, bulky and hardly tameable animal” and he represented the fight against conformism. “Walking with red rhino”, the last film by Marilena Moretti, pays homage to one of the most underestimated Italian personalities of the 20th century.



Article by: Paolo Nosenzo

Translation by: Ilaria Codeluppi

 The Petersons are a perfectly normal family, still grieving for the death of their elder son, Caleb, fallen in the Middle East. One day, a boy named David Collins knocks on their door, saying that he has served in the army with Caleb, and that he had promised him to take care of his beloved ones. At the beginning, they are a bit suspicious, but David soon gains the respect and affection of the whole family, including Caleb’s siblings, Anna and Luke. After a few violent episodes happen in the small community, Anna starts to suspect that David is hiding something, and that he’s not really who he says he is.

Continua la lettura di THE GUEST – THE 80’s ARE BACK WITH A BANG


Article by: Matteo Bagnasacco

Translation by: Paola Pupella

 “Let’s go”, directed by Antonietta De Lillo, was included in the section “Diritti & Rovesci”, a new section of the 32nd Torino Film Festival edited by Paolo Virzì.  In her film, the director of “Il resto è niente (Everything else is nothing)” tells the story of Luca Musella.

Continua la lettura di LET’S GO