Shots of Turin, deserted because of the pandemic, interweave with images of the movies that have been shot in the city ever since the dawn of cinematography. A movie that recounts Turin and its relationship with cinema (imagined, realized, conserved), on the occasion of the twentieth anniversary of the National Cinema Museum's move to the Mole Antonelliana and the birth of the Film Commission Torino Piemonte. A stroll through time and the city's topography that discovers places, images, and music, and that is open to an “ongoing” and still indecipherable future. Because, during this very different year, everything that was, and perhaps will never again be, is like a story from another world.
Alessandro Bignami (Bologna, Italy, 1971) is screenwriter, a professor of screenwriting for film and television, an editorial consultant, and the author of Il documentario. Scrivere, realizzare e vendere cinema della realtà nell’era dell’artificio (2011). Since 2012, he has been writing and directing in-depth programs about cinema and fiction for Rai Movie and Rai Premium. In 2016, he directed E venne l’uomo: un dialogo con Ermanno Olmi, presented in the Venezia Classici section at the Venice Film Festival. Colpiti al cuore (2019), on cinema and terrorism in Italy, realized on the occasion of the 50th anniversary of the Piazza Fontana massacre, was presented at the Torino Film Festival and competed for the David di Donatello for best documentary.
Prima classe (coregia/codirector Alex Oriani, cm, 2003), E venne l’uomo: un dialogo con Ermanno Olmi (doc., 2016), Colpiti al cuore (2019), Torino 20venti - Storie da un altro mondo (doc, mm, 2020).
“I came up with the idea of the movie while thinking about a Turin where, like in the rest of the world, time suddenly came to a stop. The pause allowed us to reflect on the importance the city has had and has for society, culture, and art, and therefore for our country's cinema. The shots of important movies filmed on its streets, from the era of silent movies to the Winter Olympics, formed the map we followed. Now that the movie is finished, we consign it to a future that is still unknown, but that we know will never disregard the passion for film.”