AB URBE COACTA

by Mauro Ruvolo
AB URBE COACTA - AB URBE COACTA

Informations

Nation: Italy

Year: 2016

Length: 75'

34° TORINO FILM FESTIVAL

Section:

Synopsis

In a decadent Rome, where the neurosis of modern times finds expression in cynical and vulgar humor, Mauro Bonanni contemplates old age with deep existential anxiety. Like many people, he complains about the invasion of illegal aliens but his racism, sparked by experiences rather than by ideology, proves to be contradictory. In fact, Mauro is so fascinated by those faraway lands that he abruptly leaves for Cotonou, in Benin, where years before he had gone on a trip with a Beninese employee. [mp]

Director

Mauro Ruvolo

Mauro Ruvolo

Mauro Ruvolo (Italy), multifaceted independent artist, got his start in the early 1990s as a music producer on London’s electronic scene. Shortly after this, his work as a musician and audio restorer for films was augmented by his activities as a filmmaker and editor, working on audiovisual material for Rarovideo (including the video essays of Adriano Aprà on The Conformist by Bertolucci and on Clowns by Fellini, and the documentary by Tatti Sanguineti about Rabbia by Pasolini and Guareschi). He has made many trailers, and oversaw the shooting and film editing of the documentary Liberi tutti by Luca Rea. Ab Urbe Coacta is his first feature film. 

Filmography:
Ab Urbe Coacta (doc., 2016). 

Cast and Credits

regia, sceneggiatura, fotografia, montaggio, musica, produttore/director, screenplay, cinematography, film editing, music, producer
Mauro Ruvolo


contatti/contacts
info@altrestorie.it

Director statement

“Ab Urbe Coacta was a profound life experience; it achieved its final form not only after a long work of selection, but after the evolution of an idea which was open to radical changes in course, almost passively accepting the solutions which reality suggested, bit by bit. The few fiction elements were molded onto a fabric of real characters and situations and the narrative pathway was traced by ‘documents’ which needed no staging. One of the driving forces of the project was the need to depict a Roman spirit which is disappearing.”

Synopsis Learn more

In a decadent Rome, where the neurosis of modern times finds expression in cynical and vulgar humor, Mauro Bonanni contemplates old age with deep existential anxiety. Like many people, he complains about the invasion of illegal aliens but his racism, sparked by experiences rather than by ideology, proves to be contradictory. In fact, Mauro is so fascinated by those faraway lands that he abruptly leaves for Cotonou, in Benin, where years before he had gone on a trip with a Beninese employee. [mp]

Director All about direction

Mauro Ruvolo

Mauro Ruvolo

Mauro Ruvolo (Italy), multifaceted independent artist, got his start in the early 1990s as a music producer on London’s electronic scene. Shortly after this, his work as a musician and audio restorer for films was augmented by his activities as a filmmaker and editor, working on audiovisual material for Rarovideo (including the video essays of Adriano Aprà on The Conformist by Bertolucci and on Clowns by Fellini, and the documentary by Tatti Sanguineti about Rabbia by Pasolini and Guareschi). He has made many trailers, and oversaw the shooting and film editing of the documentary Liberi tutti by Luca Rea. Ab Urbe Coacta is his first feature film. 

Filmography:
Ab Urbe Coacta (doc., 2016). 

Cast and Credits Discover the cast of the film

regia, sceneggiatura, fotografia, montaggio, musica, produttore/director, screenplay, cinematography, film editing, music, producer
Mauro Ruvolo


contatti/contacts
info@altrestorie.it

Director statement Read more

“Ab Urbe Coacta was a profound life experience; it achieved its final form not only after a long work of selection, but after the evolution of an idea which was open to radical changes in course, almost passively accepting the solutions which reality suggested, bit by bit. The few fiction elements were molded onto a fabric of real characters and situations and the narrative pathway was traced by ‘documents’ which needed no staging. One of the driving forces of the project was the need to depict a Roman spirit which is disappearing.”