CENTO ANNI

by Davide Ferrario
CENTO ANNI

Informations

Nation: Italy

Year: 2017

Length: 89'

35° TORINO FILM FESTIVAL

Section:

Synopsis

Mario Brunello plays an ancient melody over images of cemeteries and memorial chapels from the Great War. Actors recount the other side of Caporetto. A story from Eco di uno sparo by Massimo Zamboni. The massacre at Piazza della Loggia. One hundred years after that military defeat, the present-day Caporetto is demographic. Different stories but the same question: what purpose do the dead serve?

Director

Davide Ferrario

Davide Ferrario

Davide Ferrario (Casalmaggiore, Cremona, Italy, 1956) has graduated in Anglo-American literature. In the beginning of the 1980s he works with different cinema magazines and organizes film festivals and events. He is the author of many essays on cinema, of novels and several screenplays. He has directed short films and documentaries, and, among the long feature films, we would like to mention La fine della notte, Tutti giù per terra, based on the novel by Giuseppe Culicchia, and Guardami, screened in Venice in 1999. His novel Fade to Black, with fiction figure of Orson Welles, has been translated in many languages and in 2006 became an Oliver Parker’s film production of the same title. In 2015 he presented at Torino Film Festival the documentary Sexxx.

Filmography:
La fine della notte (1989), Anime fiammeggianti (1994), Materiale resistente (coregia/codirector Guido Chiesa, doc., 1995), Confidential Report - A proposito di Orson Welles (tv, 1996), Tutti giù per terra (1997), Figli di Annibale (1998), Guardami (1999), La rabbia (doc., 2000), Fine amore: mai (doc., 2001), Dopo mezzanotte (2003), La strada di Levi (doc., 2006), Tutta colpa di Giuda (2009), Piazza Garibaldi (doc., 2012), La zuppa del demonio (doc., 2014), Sexxx (doc., 2015), Cento anni (doc., 2017).

Cast and Credits

regia/director
Davide Ferrario
soggetto/story
Giorgio Mastrorocco
sceneggiatura/screenplay
Davide Ferrario, Giorgio Mastrorocco
fotografia/cinematography
Andrea Zambelli, Andrea Zanoli
montaggio/film editing
Cristina Sardo
musica/music
Fabio Barovero, Massimo Zamboni
suono/sound
Vito Martinelli, Francesco Morosini
interpreti/cast
Mario Brunello, Diana Hobel, Fulvio Falzarano, Laura Bussani, Marco Paolini, Gabriele Benedetti, Franco Arminio, Fabio Nigro
produttori/producers
Davide Ferrario, Francesca Bocca
produzione/production
Rossofuoco, RAI Cinema

**
contatti/contacts
Lab80 Film
distribuzione@lab80.it

Director statement

“One hundred years ago, Caporetto. It created the all-Italian paradigm of the catastrophe which leads to redemption. We’ve seen it so often since then, in every field. […] As a people, we need defeat: Mario Isnenghi entitled one of his books of historical studies ‘the necessary tragedy.’ So, here are four Caporettos in Italian history: the original one; fascism and the ensuing civil war; the massacre at Piazza della Loggia; and the contemporary Caporetto, which is demographic. Each one is narrated with a different style because the ‘documentary’ must also be a reflection on cinema and its methods of mise-en-scène. After Piazza Garibaldi and La zuppa del demonio, this is the final chapter of my trilogy on Italian history.”

Synopsis Learn more

Mario Brunello plays an ancient melody over images of cemeteries and memorial chapels from the Great War. Actors recount the other side of Caporetto. A story from Eco di uno sparo by Massimo Zamboni. The massacre at Piazza della Loggia. One hundred years after that military defeat, the present-day Caporetto is demographic. Different stories but the same question: what purpose do the dead serve?

Director All about direction

Davide Ferrario

Davide Ferrario

Davide Ferrario (Casalmaggiore, Cremona, Italy, 1956) has graduated in Anglo-American literature. In the beginning of the 1980s he works with different cinema magazines and organizes film festivals and events. He is the author of many essays on cinema, of novels and several screenplays. He has directed short films and documentaries, and, among the long feature films, we would like to mention La fine della notte, Tutti giù per terra, based on the novel by Giuseppe Culicchia, and Guardami, screened in Venice in 1999. His novel Fade to Black, with fiction figure of Orson Welles, has been translated in many languages and in 2006 became an Oliver Parker’s film production of the same title. In 2015 he presented at Torino Film Festival the documentary Sexxx.

Filmography:
La fine della notte (1989), Anime fiammeggianti (1994), Materiale resistente (coregia/codirector Guido Chiesa, doc., 1995), Confidential Report - A proposito di Orson Welles (tv, 1996), Tutti giù per terra (1997), Figli di Annibale (1998), Guardami (1999), La rabbia (doc., 2000), Fine amore: mai (doc., 2001), Dopo mezzanotte (2003), La strada di Levi (doc., 2006), Tutta colpa di Giuda (2009), Piazza Garibaldi (doc., 2012), La zuppa del demonio (doc., 2014), Sexxx (doc., 2015), Cento anni (doc., 2017).

Cast and Credits Discover the cast of the film

regia/director
Davide Ferrario
soggetto/story
Giorgio Mastrorocco
sceneggiatura/screenplay
Davide Ferrario, Giorgio Mastrorocco
fotografia/cinematography
Andrea Zambelli, Andrea Zanoli
montaggio/film editing
Cristina Sardo
musica/music
Fabio Barovero, Massimo Zamboni
suono/sound
Vito Martinelli, Francesco Morosini
interpreti/cast
Mario Brunello, Diana Hobel, Fulvio Falzarano, Laura Bussani, Marco Paolini, Gabriele Benedetti, Franco Arminio, Fabio Nigro
produttori/producers
Davide Ferrario, Francesca Bocca
produzione/production
Rossofuoco, RAI Cinema

**
contatti/contacts
Lab80 Film
distribuzione@lab80.it

Director statement Read more

“One hundred years ago, Caporetto. It created the all-Italian paradigm of the catastrophe which leads to redemption. We’ve seen it so often since then, in every field. […] As a people, we need defeat: Mario Isnenghi entitled one of his books of historical studies ‘the necessary tragedy.’ So, here are four Caporettos in Italian history: the original one; fascism and the ensuing civil war; the massacre at Piazza della Loggia; and the contemporary Caporetto, which is demographic. Each one is narrated with a different style because the ‘documentary’ must also be a reflection on cinema and its methods of mise-en-scène. After Piazza Garibaldi and La zuppa del demonio, this is the final chapter of my trilogy on Italian history.”