Documentary 58 min.
Written and directed by FRANCISCO GRIMALDI
Why are Kenyan runners the best in the world? How did Kenyan women conquer the running world? In Iten, Kenya, the answer, through Francisco Grimaldi’s journey and his humanitarian mission: he donates to runners without economic capacity, thousands of discarded running shoes of great international athletes, giving them the chance to enter the world of running and compete with their sacrifice and pain and aspire to success and glory.
By Silvia Giulietti
Dur. 79’ min. documentary film, 16:9 – 4K – color, stereo – Italy 2020 –
TV Version 60′ 16:9 – 4K – color, stereo
Language Italian subtitled in English
Synopsis
Fellini’s charisma, art, the great game and the world that populated his movies, filmed from a hidden room, emerge from the past after 40 years.
For Fellini’s centenary we have the exceptional opportunity to observe “through the keyhole” the master at work and discover new aspects of man and the background of his creative activity.
The eye that filmed Fellini in his personal and creative intimacy, which captured all the elements of his great game, his lies, his inventions, is that one of Ferruccio Castronuovo, the only one allowed to shoot and document his sets.
Under the maestro’s request, between ’76 and ’86, Ferruccio made the backstages, which were called “special”, of Federico Fellini’s films, Casanova, City of women, And the ship goes on and Ginger and Fred.
Ferruccio, hidden behind the scenes, captured with his inquisitive eye, the profile without censorship and without veils, nor pudos, a spontaneous Fellini, different from the mundane and mediatic that everyone knows.
Fellini trusted and gave Ferruccio “carte blanche”, offering himself and not feeling observed.
A world apart, an imaginary city populated by unique characters, which had a life of its own, a Fellinopolis.
With this premise, the exceptional Oscar-winning interviewees who have collaborated with maestro Fellini, tell their work and life experience, giving back a story “from inside” the sets. This creates a virtual stage between the past and the present, narrating Fellini through his backstage, re-emerging from the past almost 40 years ago.
FESTIVALS
Festa del Cinema di Roma – 2020 – Omaggi – ITALY
ICFF – Italian Contemporary Film Festival, Toronto 2020 – Best documentary – CANADA
Sofia International Film Festival – 2021 – Kaleidoskope – BULGARIA
BAFICI 2021 – Películas sobre películas – ARGENTINA
Santa Barbara Film Festival 2021 – Documentary Competition – California (USA)
Krakow Film Festival – 2021 – Somewhere in Europe – POLAND
Shanghai International Film Festival – 2021 – Spectrum: SIFF Rhapsody – CHINA
Fajr International Film Festival 2021: Docs in Focus – IRAN
European Film Festival Palic 2021 – New European Documentary Film – SERBIA
Atlantida Film Fest 2021 – Palma de Maiorca – SPAIN
Festival delle terre del mare – Alghero – ITALY
DMZ International Documentary Film Festival 2021 – Open Cinema – KOREA
Film by the sea Festival – 2021 – The good, the bad and the ugly of Italian Cinema – NETHERLAND
Bellaria Film Festival 2021 – Bei Doc – ITALY
Beijing International Film Festival 2021 – Panorama – Reality Rocks – CHINA
International Documentary Film Festival OFF CINEMA in Poznań 2021 – POLAND
Riga International Film Festival 2021 – LATVIA
DA2 – Zagreb Design, Art & Architecture Film Festival – CROAZIA
IndieBo – COLOMBIA
Silk Road Film Festival – CHINA
Italian Doc Fest – Moscow – RUSSIA
FIFA – Festival International du film sur l’art – Montreal, CANADA
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LA MORTE LEGALE: Giuliano Montaldo racconta la genesi del film Sacco e Vanzetti
Regia di Silvia Giulietti e Giotto Barbieri
Boston, Massachusetts, 1920. Due italiani, Nicola Sacco e Bartolomeo Vanzetti, vengono condannati a morte, l’unica loro colpa e ssere anarchici. Il mondo intero si ribella, le piazze si riempiono, non sono in gioco solo le vite di due uomini, ma gli ideali che rappresentano. Si alzano milioni di voci in decine di lingue diverse. Chiedono giustizia per Sacco e Vanzetti, ma nulla riesce salvare le loro vite. Il 23 agosto del 1927 Nicola Sacco e Bartolomeo Vanzetti vengono consegnati al boia e giustiziati sulla sedia elettrica, diventando martiri di ingiustizia e simbolo di libertà.
Quasi cinquant’anni dopo, nel 1971, Il regista Giuliano Montaldo realizza un film sulla loro incredibile storia. Il titolo è “Sacco e Vanzetti” e diventa immediatamente un manifesto contro l’intolleranza, l’ingiustizia, la pena di morte. Sacco e Vanzetti è un grande successo internazionale. La colonna sonora, “Here’s to you”, di Ennio Morricone e Joan Baez diventa simbolo di libertà e di difesa dei diritti umani, esaltando le coscienze dei giovani di tutto il mondo.
Grazie al film, Sacco e Vanzetti, si costituisce un comitato di riabilitazione e nel 1977 Michael Dukakis, governatore del Massachusetts, proclama la riabilitazione di Nicola Sacco e Bartolomeo Vanzetti, dichiarando al mondo intero la loro totale innocenza.
Oggi, nel 2017, a 90 anni dall’esecuzione e a 50 dalla riabilitazione, il film di Montaldo rivedrà la luce in una versione restaurata.
Il restauro del film Sacco e Vanzetti è l’occasione per raccontare, attraverso il documentario “La morte legale”, il lavoro straordinario di Giuliano Montaldo. Il regista espone le motivazioni di una scelta coraggiosa e rivela l’intero percorso artistico/produttivo. Nel racconto di Montaldo si rivelano i retroscena di un film diventato fondamentale per la storia del cinema italiano e internazionale.
Un esempio magistrale di come un capolavoro prende vita, nonostante le difficoltà.
Un insegnamento prezioso di valori e di professionalità da tramandare alle future generazioni.
Un omaggio dovuto e necessario a un uomo che ha avuto il coraggio di sostenere fino in fondo quello in cui credeva.
Il documentario è stato realizzato utilizzando circa trecento foto di scena del film Sacco e Vanzetti, dell’Archivio Storico Enrico Appetito. L’Archivio fotografico raccoglie immagini di scena scattate dal maestro Enrico Appetito sui set di oltre cinquecento film, dagli anni Cinquanta al 2003.
L’inserimento nel montato dei disegni di Remo Fuiano, ispirati a Sacco e Vanzetti, sono l’occasione per dimostrare quanto questa storia dia vita tutt’oggi a forme diverse nell’arte e nella cultura.
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THE LEGAL DEATH: Giuliano Montaldo talks abot the genesis of the movie “Sacco e Vanzetti”
Boston, Massachusetts, 1920.
Two Italians, Nicola Sacco and Bartolomeo Vanzetti, were sentenced to death, the only crime they were guilty of was of being anarchists.
The whole world stood up, the people crowded into the town squares, not just the lives of two men were at stake but also the beliefs which they represented.
Millions of voices in many languages were raised in protest. They sought justice for Sacco and Vanzetti, but nothing could save their lives.
In August 23th, 1927 Nicola Sacco and Bartolomeo Vanzetti were executed by electric chair, becoming martyrs and icons of freedom.
Almost fifty years later, in 1971, the Italian director Giuliano Montaldo made a film about their unbelievable story. “Sacco e Vanzetti” immediately became a manifesto against intolerance, injustice and the death penalty. It was a huge international success.
The soundtrack “Here’s to you” by Ennio Morricone and Joan Baez became an anthem of freedom and the defence of human rights, raising awareness among young people all over the world.
Because of the film, a Committee was created, and in 1977, Michael Dukakis, governor of Massachusetts, declared the rehabilitation of Nicola Sacco and Bartolomeo Vanzetti and their complete innocence to the world.
Now, in 2017, 90 years after the execution, and 50 years after the rehabilitation, the Montaldo movie has been restored.
Director’s Note
The Legal Death celebrates the work of the great director Giuliano Montaldo who had the courage to realize a film about the story of Sacco and Vanzetti during the seventies, a time full of social upheavals.
A time where the story of two italian anarchists sent to death although they were complete innocents, was disappeared from collective memory.
Montaldo shed light on this important story of tragedy, injustice and martyrdom, and he put it on the screen because he was trustful that it could arouse a generation who was back then starting to fight for civil rights and freedom. The opening in 1971 was a huge international success. The movie theaters were stormed of young people who saw the Sacco and Vanzetti’s sacrifice as an emblem of important beliefs and ideals. The artwork was translated and released all over the world. The soundtrack composed by Ennio Morricone and Joan Baez became an anthem sang by the voice of millions of people from all the squares all over the world. The names of Nicola Sacco and Bartolomeo Vanzetti came frome the past to testify their sacrifice for an higher level of thought.
Silvia Giulietti and Giotto Barbieri wanted to unveil what was there, behind the scenes of a film which is now a milestone in the “so called”cinema socially active.
In the documentary Montaldo tells about the genesis of the movie and also when he came up with the idea, how he found the right producer, why he chose those particular actors, his artistic approach. The creation of a masterpiece,and then the difficulties apparently intractables he had to deal with. All that allowed, even moments of real luck to get the the film in the theaters at last.
The Legal Death is a wonderful journey throughout the cinema and like every journey, you know when it starts but you’re not sure to come to an end. This is the magic of cinema…
There are many ways of framing a landscape, a face, as there are many ways to tell the story of a man, his life, his passions, his character, his movements, sending a message to the world.
“The Hidden Angels of Luchino Visconti” This is the title. It tells of the man, the great man and director that he was, through the eyes of his closest collaborators, through never-before-seen images of Mario Tursi’s personal photographic archives. He was the photographer who followed Visconti his entire life. In this documentary Visconti’s camera operators who have given back to us the vision of his genius and contributed to his greatness: in silence, without fanaticism or exaltation, and for this reason they are his “Hidden Angels”.
We are narrating the life of a man, his daily routines – less known by the official literature – seen through many of the frames shot by his “angels”, who bore witness to his way of living, of interacting, behaving as an artist in and around his creative world.
Luchino Visconti: a treasure for all of humanity. The studies, the analyses, the reflections proposed by those tasked with examining his thought, have been able to dissect even the deepest sensitivities of the artist, but never has this been seen from the totally unusual angle proposed here.
A work, in Visconti’s case, which is not only solitary, as can happen with a writer, a painter or a poet, but which has a “plural” dimension; which needs the help of many other persons to be brought to completion. This is how a movie is born. This is how the eyes of the “hidden angels” have given back to us what he was imagining.
Although Visconti did not consider cinema an art form equal to a figurative work or a poem, these being immune from the conditioning brought about by the “technical concept”, we know that his work was art. Yet, this is not the intent of our project and These are the men who have seen him at work and on breaks, and who have seen him interact and speak; who have seen him cut across human moods.
Every witness has his personal view of Luchino Visconti, filtering his emotional light through the lens of his own human and cultural experience.
Their narrations do not contribute to the achievement of “objective Visconti” in the constant search for a descriptive synthesis, as well as to a “living Visconti” through the recounting of a fact, an anecdote, an argument and its resolution, a way of doing, which bring him back for a moment among his work friends, as an artist and as a man. An emotional glimpse, then, in the search for those memories which are not found in cinema literature, perhaps because they are considered non-influential on the analysis, or devoid of the dignity of “memorable” stories.
A different look at the man, better yet, the looks at that “technical concept” which address strictly professional questions, but which concentrate on the life of the crew navigating in the adventurous waters of that “craft mans labor” which is cinema. Guided by their helmsman who is able of obtaining, with authority and knowledge of the destination, enviable results .
Fic Brasilia 2007
Roma Film Festival 2008
Milano Doc Festival 2008
Gran Jury Prize – Noemart Film Festival 2010
Set during the Second World War, in the context of the partisan battles of Brigade Maiella, this is the story of three boys only 13 years old, who grow up helping Allied soldiers escape from German captivity through the rugged mountains of Abruzzi, in Italy.
Documentary by Pietro Faiella and Gianlorenzo Puglielli
A coproduction Overcom – iFrame
Director Giulia Merenda
The documentary is the portrait of an artist who makes portraits and who, although she always wanted to keep a low profile, has been widely recognized as a preminent figure. A woman to discover with joy, as a hidden treasure. Her comic strips, published from between the seventies and eighties, stand out not only for their impressive beauty, reminiscent in some way of a classic style, but also for the strong influence they had in the development of an extremely vivid and fascinating imaginary world, breaking the rules and opening new spaces with such unparalleled intensity, which cinema or literature in those years did not manage to achieve.
This film therefore pays a tribute to the art of comics, and to Mètal Hurlant, sometimes unjustly considered as low culture, a brilliant form of art, perfectly fit to express our complex world.
There are two souls inside Cecilia Capuana, the one that gets involved and the one that keeps things at a distance, with irony. Drawing comic strips is a choice of freedom, joy and openness. Being a painter is a reflection on the real world, a way of getting in touch with matter. The weight of colors opposite to ideal synthesis of black and white.
A comic strip starts from your head, a painting starts from your stomach while your soul is jumping here and there. And….The seventies, the youth movement, photographs taken by Tano D’Amico. Maternity. Meeting with Métal Hurlant editor Jean Pierre Dionnet. A different point of view by Tanino Liberatore, brother-in-road, like her, he was considered in France more than he was in Rome. Exceeding in curiosity, lack of style. Loss, a typical migrant feature. A feeling of affection for artists of the past. Her ‘’great’’ friend Mario Monicelli. Weighing on the present for the future. As Van Eyck said: “Als Ik Kan” (As I Can)
– Festival International d’Angoulême 2010
– Festival Romics 2010
– Lucca Comics and Games 2010
– Sulmona Film 2011
– Docartoon 2011
-Art Doc Festival 2013
Directors: Silvia Giulietti and Tiziano Novelli
Through the food cooked by two cooks, Hatem Taha, coming from Palestine and Erez, Komarovski coming from Israel, we smell, learn, hear and feel the flavour of cardamom, mint and experience their lives. Think to use not only our eyes to leave with them to Jerusalem and Tel Aviv. Walking in the narrow streets of Jerusalem and in the larger ones of Tel Aviv, we see the Holy Sepulchre, the Western Wall, the cristallized Me a She’ arim, we see modern and ancient together, enter their homes, know their friends and families, we meet the Parents circle, who fight hard to put an end to this conflict and hopefully we learn from who has suffered more to understand each other for a better future of peace and friendship and that there is always place to hope because it’s stupid to saying there is no way for peace, because peace is the way!
‘’Un film per la pace’’ 2007 – Winner
Sole e Luna Doc Festival 2008
Roma Film Festival 2008
Prize Human Rights 2008
Arcipelago 2008
Abruzzo Film Festival 2009
Babel Tv Sky all’IMAF Festival 2010 – Winner
SOME EVENTS CAN NOT BE FORGOTTEN EVEN AFTER TIME HAS PASSED, ESPECIALLY WHEN THEY AFFECT PEOPLE’S EXISTENCE INDELIBLY.
Twenty-six April 1986, one, twenty-three minutes and fifty seconds. The reactor number four of the Chernobyl nuclear power station exploded, causing one of the greatest technological disasters of the twentieth century. The Republic of Belarus is the country with most of the territories with ta.m [born to radiation} while not having nuclear power plants.
This is the beginning of the documentary, which on the occasion of the twentieth anniversary of the disaster, we decided to create. In February, the crew made the shoot by making a trip starting from the capital of the Republic of Belarus, Minsk, to go to the places most affected by contamination (region of Mogilev, Gomel region).
A total of approximately 1600 km in a time when even the weather conditions were prohibitive, given the constant -20 ° daily.
In competition for Golden Globe by Foreign Press 2006
Directors: Giuliano Montaldo and Silvia Giulietti
Narrator : Anita Caprioli
Music: Ennio Morricone and Rocco De Rosa
EVEN THE BEAUTIFUL ISLAND OF PROCIDA COULD BE SUFFOCATED BY WILD CEMENTIFICATION, INTENSE TRAFFIC AND UNAUTHORISED HOUSES.
There is a petition to Save Procida, signed by a large group of intellectuals, artists and people from the entertainment industry that launches a public appeal. And to reinforce this concept, we made a documentary, accompanied by the voice of Anita Caprioli, showing the beauty of the island, but also the abuses that have been made over the years, as well as’ degradation that continues to advance without control. The film tells poetic images to the island of Procida its beauties and its difficulties and is divided into three parts: ” The Island of the lemons ”, ” The island of culture ”, ” The Island sailors ”. The direction of Giuliano Montaldo and Silvia Giulietti with music by Ennio Morricone and Rocco De Rosa makes the film a touching act of love for this pearl of the Mediterranean.
Time: 3 videos of 5 min.
format: DVCAM
Ethnicus is a festival-laboratory where, through a process of research and experimentation with different languages in the various artistic fields, people meet and confront artists, academics and cultural workers through discussions, exhibitions, workshops, laboratories, shows, concerts, readings and video works. A meeting between people from different cultural and geographical roots who are not afraid to confront even artistically topics such as exile, the desire to return to their own roots and traditions, the forced abandonment of their land, the necessary and desirable coexistence between ethnic groups and cultures, or even better searching for a way to valorize the differences.
Time: 54 min
Babel Tv – Sky Channel 136
