A film dedicated to the actor Carlo Colnaghi, fifteen years after his death in Turin on July 12, 1999. His artistic collaboration with Daniele Segre resulted in two films, the video Tempo di riposo (1991) and the feature-length Manila Paloma Blanca (1992), which was invited to the Venice Film Festival that same year. Colnaghi’s train trip to Venice for the festival is the starting point to illustrate the man and the actor through the personal and artistic journey he began with Segre years earlier.
Daniele Segre (Alessandria, Italy, 1952) began his career in photography, before debuting as a director in 1976 with the documentary Perché droga. He published the book of photographs Ragazzi di stadio and founded the production company I Cammelli. In 1983, he directed the feature-length fiction movie Testadura, which competed in Venice. It was followed by other films, including Manila Paloma Blanca, Lisetta Carmi - Un’anima in cammino, presented in Venice in 2010, and Sic Fiat Italia, which was presented at the 2011 Torino Film Festival, where in 2014 he also presented Il viaggio di Carlo, in 2015 Morituri and in 2016 Nome di battaglia donna.
Perché droga (coregia/codirector Franco Barbaro, mm, doc., 1976), Ragazzi di stadio (mm, doc., 1980), Testadura (1983), Vite di ballatoio (mm, doc., 1984), Manila Paloma Blanca (1992), Come prima, più di prima, t’amerò (mm, doc., 1995), Sto lavorando? (mm, doc., 1998), Via due macelli, Italia - Sinistra senza unità (2000), Volti - Viaggio nel futuro d’Italia (tv, doc., 2002), Vecchie (2002), Mitraglia e il verme (2004), Conversazione a Porto (doc., 2006), Morire di lavoro (doc., 2008), Lisetta Carmi - Un’anima in cammino (mm, doc., 2010), Je m’appelle Morando - Alfabeto Morandini (mm, doc., 2010), Sic Fiat Italia (doc., 2011), Il viaggio di Carlo (cm, doc., 2014), Morituri (2015), Nome di battaglia donna (doc., 2016), Ragazzi di stadio, quarant’anni dopo (doc., 2018)
“I met Colnaghi when Testadura was presented in Venice in 1983; it was the beginning of an authentic relationship of collaboration and friendship. Colnaghi lived with great difficulty and pain; a former actor, he had been a patient of the psychiatric services and he came to me to return to acting. After hearing his true story, he and I developed a very important and strong tie, which allowed me to begin a program of re-education of his acting talent, with the invaluable support of his psychiatrist, Luciano Sorrentino.”