PAGINE NASCOSTE

by Sabrina Varani
PAGINE NASCOSTE

Informations

Nation: Italy

Year: 2017

Length: 67'

35° TORINO FILM FESTIVAL

Section:

Synopsis

For the first time, the author Francesca Melandri deals with the legacy of her father, a convinced Fascist during the Mussolini period. For a long time, his past was censored from his family’s memory but, through research in Italy and Ethiopia, his daughter investigates and re-elaborates it for her new novel, as she also studies Italy’s repression of its violent colonial past.

Director

Sabrina Varani

Sabrina Varani

Sabrina Varani (Rome, Italy, 1965), cinematographer and filmmaker, has collaborated with many directors in Italy and France, including Laura Muscardin, Atiq Rahimi, Agostino Ferrente, Alina Marazzi, Mariangela Barbanente, René Feret, Claire Duguet, and Emmanuel Bonn.

Filmography:
Toubab (cm, doc., 1991), Negri de Roma (mm, doc., 2002), Easy Rider - Bikers for Christ (mm, doc., 2008), Riding for Jesus (mm, doc., 2012), Pagine nascoste (doc., 2017).

Cast and Credits

regia, fotografia, suono/directors, cinematography, sound
Sabrina Varani con/with Francesca Melandri
soggetto, sceneggiatura /story, screenplay
Sabrina Varani
montaggio/film editing
Edoardo Morabito
musica/music
Pietro Bartoleschi
interpreti/cast
Valentina Carnelutti (voce/voice), Giorgio Manzi, Massimo Rendina, Teresa Melandri, Aster Carpanelli, Carmine Panico, Major Shaleka Dejene Meshesha, Elfinesh Tegeni, Tewodros Seyoum, Igiaba Scego, Don Alessandro de Sanctis
produttori/producers
Luca Ricciardi, Raffaele Brunetti
produzione/production
AAMOD, B&B Film

**
contatti/contacts
AAMOD - Fondazione archivio audiovisivo del movimento operaio e democratico
info@aamod.it
www.aamod.it

Director statement

“The film was born from an intuition: to recount what lies behind writing. […] Above all, rather than doing it a posteriori, I wanted to do it as a novel was taking shape. I soon had to tackle the enormity of the historical topic Francesca was dealing with. […] By facing up to my ignorance and understanding that it wasn’t just a shortfall of mine but a collective repression, I searched for a personal language to recount History from the subjective point of view of someone like me who was discovering an uncomfortable and shameful past, whose parents or grandparents had been complicit in it but had never talked about it to us.”

Synopsis Learn more

For the first time, the author Francesca Melandri deals with the legacy of her father, a convinced Fascist during the Mussolini period. For a long time, his past was censored from his family’s memory but, through research in Italy and Ethiopia, his daughter investigates and re-elaborates it for her new novel, as she also studies Italy’s repression of its violent colonial past.

Director All about direction

Sabrina Varani

Sabrina Varani

Sabrina Varani (Rome, Italy, 1965), cinematographer and filmmaker, has collaborated with many directors in Italy and France, including Laura Muscardin, Atiq Rahimi, Agostino Ferrente, Alina Marazzi, Mariangela Barbanente, René Feret, Claire Duguet, and Emmanuel Bonn.

Filmography:
Toubab (cm, doc., 1991), Negri de Roma (mm, doc., 2002), Easy Rider - Bikers for Christ (mm, doc., 2008), Riding for Jesus (mm, doc., 2012), Pagine nascoste (doc., 2017).

Cast and Credits Discover the cast of the film

regia, fotografia, suono/directors, cinematography, sound
Sabrina Varani con/with Francesca Melandri
soggetto, sceneggiatura /story, screenplay
Sabrina Varani
montaggio/film editing
Edoardo Morabito
musica/music
Pietro Bartoleschi
interpreti/cast
Valentina Carnelutti (voce/voice), Giorgio Manzi, Massimo Rendina, Teresa Melandri, Aster Carpanelli, Carmine Panico, Major Shaleka Dejene Meshesha, Elfinesh Tegeni, Tewodros Seyoum, Igiaba Scego, Don Alessandro de Sanctis
produttori/producers
Luca Ricciardi, Raffaele Brunetti
produzione/production
AAMOD, B&B Film

**
contatti/contacts
AAMOD - Fondazione archivio audiovisivo del movimento operaio e democratico
info@aamod.it
www.aamod.it

Director statement Read more

“The film was born from an intuition: to recount what lies behind writing. […] Above all, rather than doing it a posteriori, I wanted to do it as a novel was taking shape. I soon had to tackle the enormity of the historical topic Francesca was dealing with. […] By facing up to my ignorance and understanding that it wasn’t just a shortfall of mine but a collective repression, I searched for a personal language to recount History from the subjective point of view of someone like me who was discovering an uncomfortable and shameful past, whose parents or grandparents had been complicit in it but had never talked about it to us.”