Sabrina Iannucci

Oltre il tempo, l'amore

The encounter between physics and cinema and the terribly topical subject of the end of the world turned the set of Liliana Cavani's The order of time into a kind of Noah's Ark, where cast and crew isolated themselves for five weeks. Flooded by the climate emergency, wars, and the dystopian future, while Cavani holds the helm of the ship and Carlo Rovelli explains the end of time, the film's meteorite becomes in the documentary a metaphor for what happens in the protagonists' real lives.

Oltre il tempo, l'amore

The encounter between physics and cinema and the terribly topical subject of the end of the world turned the set of Liliana Cavani's The order of time into a kind of Noah's Ark, where cast and crew isolated themselves for five weeks. Flooded by the climate emergency, wars, and the dystopian future, while Cavani holds the helm of the ship and Carlo Rovelli explains the end of time, the film's meteorite becomes in the documentary a metaphor for what happens in the protagonists' real lives.

Oltre il tempo, l'amore

The encounter between physics and cinema and the terribly topical subject of the end of the world turned the set of Liliana Cavani's The order of time into a kind of Noah's Ark, where cast and crew isolated themselves for five weeks. Flooded by the climate emergency, wars, and the dystopian future, while Cavani holds the helm of the ship and Carlo Rovelli explains the end of time, the film's meteorite becomes in the documentary a metaphor for what happens in the protagonists' real lives.

It can't always be summer

It's a documentary that examines the development of a group of teenage kids from the outskirts of Naples and their involvement in a theatre group. Chiara Stella, Domenico and Alessio are all 15 years old and every Monday they go to theatre classes at the Centro Asterix, a recreational space with a small theatre, located in San Giovanni in Teduccio, a district in the eastern suburbs of Naples. The film closely follows the relationships between the children and their teachers; Nicola encourages the children to look into themselves and find ways of facing life with a conscious and above all calm approach. The stories, the needs and personalities of Chiara Stella, Domenico and Alessio emerge through crises, successes and reflection; they open up to each other thanks to the methods and direction of Nicola and through improvisation on the stage. The theatre thus becomes a space for discussion and self-analysis.