Categories
A MUSO DURO
Category: film
Categories
Sorveglianze
SYNOPSIS:
A network of surveillance cameras and stolen images within a labyrinthine reality marks the toxic love between two young people, Alice and Francesco. There is no real intimacy between them — only a power game that ultimately leads to revenge porn.
PRODUCTION:
The short film, written and directed by first-time filmmaker Guido Pontecorvo and developed in collaboration with the Italian Ministry of Culture, had its world premiere at Alice nella Città, an independent and parallel section of the Rome Film Festival.
“Sorveglianze” won two awards at the Nastri d’Argento, a historic accolade presented by the National Union of Italian Film Journalists: the Claudio Nobis Foundation Award, traditionally dedicated to recognizing the talent of young filmmakers, and the Media Fenix Award, which includes support services for the production of an upcoming short film.
The film has also been featured in other prestigious festivals, including Afrodite Shorts, where it won the Award for Best Short Film on a Female Theme, the Roma Creative Contest, and the Los Angeles Italia Film Festival, a renowned international showcase of Italian cinema held at the Chinese Theatre in Los Angeles. “Sorveglianze” will compete in the International Competition at the Odense Film Festival in Denmark, one of the most prestigious Academy Qualifying and EFA Qualifying festivals, having been selected from over 3,000 short films.
It is currently on the festival circuit, distributed by Premiere Film.
YEAR OF PRODUCTION: 2024
AWARDS:
Afrodite Shorts – Best Short Film on a Female Theme
Nastro d’argento – Claudio Nobis Foundation Award
Nastro d’argento – Media Fenix Award
CAST:
‘Alice’ – Ambrosia Caldarelli
‘Francesco’ – Daniele La Leggia
‘Arianna’ – Asia Nevi
‘Saverio’ – Matteo Bianchi
CREW:
Director, Story, and Screenplay: Guido Pontecorvo
Executive Producer: Stefania Balduini
Director of Photography: Vincenzo Carpineta
Editor: Marco Garavaglia
Assistant Director: Alessandro Scuderi
Set Design: Priscilla Rossi Pavolini
Costume Design: Daniela Ciancio
Original Score: Lorenzo Taddei
Production Sound Mixer: Marco De Carolis
Categories
Una Storia
UNA STORIA
LOGLINE:
A story like far too many others, where the actors change but the script stays the same. A story that plays out every other day. A story in which the victim always belongs to the same gender.: women.
SYNOPSIS:
A man emerges from a shelter, his face is distraught, while holding a hammer in his hand. A dog approaches him, baring its teeth. The man’s name is Fabrizio. Inside the shelter lie the bodies of Alessia, Gaia, and little Erica – victims of Fabrizio’s brutal madness.
START OF SHOOTING: July 6, 2024
DURATION: 20 minutes
CAST:
Fabrizio Odetto
Erica Nebiolo
Alessia Olivetti
e con Alberto Barbi, Carlo Giuseppe Ramondetti, Giorgia Chianello, Paco Zafferani, Sandra Pettiti, Elena Ramondetti, Lorenzo Zoppi, Davide Nebiolo, Sandro Belerio, Alessandra Milano, Manuela Facelli
Fabrizio Odetto
Erica Nebiolo
Alessia Olivetti
e con Alberto Barbi, Carlo Giuseppe Ramondetti, Giorgia Chianello, Paco Zafferani, Sandra Pettiti, Elena Ramondetti, Lorenzo Zoppi, Davide Nebiolo, Sandro Belerio, Alessandra Milano, Manuela Facelli
CREW:
Directed by: Alessia Olivetti
TREATMENT:
In a small mountain village, two men speak in their local dialect about a crime committed nearby by another man—a stranger. His name is Fabrizio, and he and Alessia have recently separated. He still lives in the village where he had moved after meeting Alessia, while she has fled far away, up in the mountains, where she now runs an alpine refuge. Their young daughter, Erica, splits her time between her parents. Like many separated couples, they are trying to build a new family balance in the aftermath of their divorce.
After the separation, Fabrizio is trying to build a relationship with his daughter. Alessia, meanwhile, has broken away from her past and found peace and silence around her—a life completely different from the one she once had.
Every time Fabrizio has his daughter for the weekend, he takes her to the cable car that leads to the mountain refuge Alessia now runs. It’s a routine that’s been repeating every two weeks for months—a ritual that fills him with a sense of helplessness, a reminder that things are no longer under his control.
The separation has imposed harsh rules he never anticipated.
One day, against the agreement made with Alessia, Fabrizio decides to go up to the refuge to pick up Erica, spend the night there, and try to speak with his ex-wife.
Over time, Alessia has come to terms with the distance. Fabrizio, on the other hand, has harbored a growing sense of repressed anger and powerlessness, gradually convincing himself that the only way to reclaim the life he once had is to take back Alessia and Erica—by any means necessary.
And so, in the light of a new day breaking, a brutal crime against life and love is committed—one of those crimes that, just as the two men in the mountain village said at the beginning of our story, happens over and over again, so often that we’ve grown used to it.
