Maurizio Braucci
Shot in the juvenile prison of Nisida, in Naples, the short film is the result of a screenwriting workshop held with some inmates of the juvenile prison of Airola, in the province of Benevento, between February and December 2018 and which led to the collective writing of the script.
Italian-French historical romance drama film loosely based on the 1909 novel of the same name by Jack London about a young proletarian autodidact struggling to become a writer.
Naples. Present day. Giovanna, a combative 60-year-old social worker on the frontline of the daily war against pervasive criminality, is confronted, like a modern Antigone, with a moral dilemma that threatens to destroy her work and her life. Giovanna runs an after-school centre that takes care of underprivileged children; a grassroots alternative to the mafia dominance of the city. But one day, young Maria, wife of a ruthless Camorra criminal on the run, and her two children take refuge at the centre, and ask Giovanna for protection.
Pulcinella, a foolish servant, is sent to present-day Campania to grant the last wish of Tommaso, a simple shepherd.
A former narcotics smuggler, now living peaceably in the Calabrian hills, is drawn back into his family’s drug-trade dynasty by his impetuous teenage son.
We are with Pasolini during the last hours of his life, as he talks with his beloved family and friends, writes, gives a brutally honest interview, shares a meal with Ninetto Davoli, and cruises for the roughest rough trade in his gun-metal gray Alfa Romeo. Over the course of the action, Pasolini’s life and his art (represented by scenes from his films, his novel-in-progress Petrolio, and his projected film Porno-Teo-Kolossal) are constantly refracted and intermingled to the point where they become one.
A boy and a girl are locked in an enormous abandoned building in a rundown area. She is a prisoner and the local clan leader has forced him to be her warder. Despite their youth, both of them have grown up too fast. Veronica acts like a mature and open-minded woman whilst Salvatore is like a man who wants to hold on to his job and lead a quiet life. Thus, when faced with the violence of this incarceration, the two young people have different reactions: Veronica is restless and rebellious; Salvatore is more remissive and accommodating, either out of fear or realism. They are both victims but it is almost as though each blames the other for their reclusion. However, as the hours go by, their mutual hostility is transformed into an inevitable intimacy, consisting of reciprocal discoveries and confessions. Between the walls of that isolated and frightening place, Veronica and Salvatore fi nd a way to rekindle those adolescent dreams and ideas put aside too soon.
Weaving together fact and fiction, this docudrama performs a portrait of the often seamy underside of the city of Naples.Ferrara traveled to Italy to interview the inmates at the Naples Pozzuoli State Prison, a high security lockup for women, and with the help of a translator he allows a number of women doing time to talk about their lives before and after they were convicted. Ferrara chose to expand the short profile of the prisoners into a feature by offering a look at life in the slums of Naples and the actions of a number of law enforcement officers and social workers struggling to improve conditions for the poor, as well as adding three short fictional segments shot of digital video gear.
An inside look at Italy's modern-day crime families, the Camorra in Naples and Caserta. Based on a book by Roberto Saviano. Power, money and blood: these are the "values" that the residents of the Province of Naples and Caserta have to face every day. They hardly ever have a choice and are forced to obey the rules of the Camorra. Only a lucky few can even think of leading a normal life.
In a luxurious hotel in Naples, there is something magical and mysterious about room 52. The only person aware of this is Serena, an eccentric fifty-year-old chambermaid who still has a smile on her face despite a difficult life. As she cleans, Serena asks the room about the fate of her deceased husband in the afterlife and the room appears, somewhat confusedly, to answer her. A surreal dialogue ensues, during which Serena talks about her own and other people’s sins, and frankly tackles a fundamental theme of Christian morality.
“Madame Luna” chronicles the true story of an Eritrean refugee girl, washed ashore in Libya, who becomes one of the most notorious of human trafickers with deep ties to the Italian Mafia.
