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The Istituto Luce turned ninety in 2014, its decades-long history intertwined with that of Italy itself, through cinema and that unique treasure trove of images known to all as the Luce Archives. To celebrate its anniversary, some of the most acclaimed rising filmmakers in Italy were invited to make a small film, with each director selecting ten minutes of footage from the archives, out of the thousands of hours of footage to be found there. The result is an album full of different narratives.
Cipria is a ghost film: three Italian women who lived during fascism had told their lives hoping they could become a film, but the war had shattered the dream. We didn't even have an image of them: only the stories, still current, of their lives, which had been waiting for eighty years to be seen and heard. The challenge was to visualize their stories with footage shot between the 1920s and 1940s and new footage, to give each of them a face, a voice and a body.
Naples 1999, two boys and two girls full of hope. Naples 2013, the same protagonists disenchanted in a paralyzed city.
Navigating freely among the images produced for the Italian Communist Party between the 1950s and the '80s by important Italian directors, and after encountering the gaze of Luciana Castellina, the legendary communist politician and a founder of the “Manifesto,” a woman who has never been orthodox and still today is a tireless organizer, Giovanni Piperno ponders the significance of the “party-giraffe” - as Togliatti once defined it – and, above all, what still remains of an experience that involved millions of people in an attempt to transform themselves and the world.
"The Missing Piece" - Founded 1899, Fiat builds cars to make the Italian economy go faster. The history of this pillar of industrial capitalism is also the story of a very powerful and very prominent family: the Agnellis.
This documentary was distilled from a 3 1/2-hour television film Nessuno o Tutti, to make the point that many inmates now in mental hospitals could be released without harm to society, and to their advantage.
Until the 1970s, Italian cinema dominated the international scene, even competing with Hollywood. Then, in just a few years, came its rapid decline, the flight of our greatest producers, a crisis among the best writer-directors, the collapse of production. But what are the true causes and circumstances of this decline? In an attempt to provide an answer to this question, Di Me Cosa Ne Sai strives to depict this great cultural change. Begun as a loving examination of Italian cinema, the film transformed into a docu-drama that alternates between interviews with the great names of the past and fragments of cultural and political life of the last 30 years. It is a travel diary that shows Italy from north to south, through movie theatres; television-addicted kids; Berlusconi and Fellini; shopping centers; TV news editors; stories of impassioned film exhibitors and directors who fight for their films; and interviews with itinerant projectionists and great European directors.
A Donatello award nominated documentary following the life of an autistic boy and his family.