Two female directors - two friends - meet up, they are united by the memory of their respective abortions. Together, they begin a journey between Buenos Aires and northern Italy, spurred on by the need to overcome a traumatic memory. Their pathway brings them in contact with other women who have gone through the same experience, each one with her own story and past. But their stories also reveal the limits of the movie: the impossibility of representing an intimate experience. And this very obstacle will be the starting point of an imaginary story.
(Como, 1990) moved to Buenos Aires when she was twenty years old and graduated in directing from the Film University there. During her studies, she directed the short films Mara (2016) and Roma (Buenos Aires) (2018). Just like her co-director Marina Vota, Esa casa amarilla is her first feature film. In 2021, she also worked on a short, Le porte sul giardino, which is also under production, and worked on writing her next fiction feature film. She also works in the art departments of various movie productions and installations.
Mara (cm, 2016), Roma (Buenos Aires) (cm, 2018), Esa casa amarilla (2021).
(Buenos Aires, Argentina, 1991) is a screenwriter with a degree from the Buenos Aires Film University. During her studies, she worked as a director's assistant and sound technician on various academic and professional projects. In 2016, she directed the short La decisión and in 2021 she directed her first film, Esa casa amarilla, with the support of the National Institute of Cinema and Visual Arts (INCAA) and under the aegis of the city of Buenos Aires. She works as a director's assistant for the production company Palestra and on various film and musical productions. She also attends a course in creative writing at the University of Buenos Aires.
La decisión (doc, cm, 2016), Esa casa amarilla (co-regia Valeria Ciceri, doc, 2021).
“It all began when, within our friendship, we found ourselves unable to talk about our respective abortions. As a reaction to this silence, we began to record each other and, later, to watch ourselves talk about an event that was still traumatic for us. This pathway guided us toward a question: can cinema be an instrument for overcoming a trauma? This led us to meet with other women and document different stories and past events. The movie transformed itself into a pathway, in double first person, about intimacy and how it can be portrayed. A road trip through Buenos Aires and northern Italy, in search of the right way to represent an intimate experience, its limits and its difficulties. These same limits found in the imagination an instrument that opened the doors to intimacy.”
CONTACT:Valeria Ciceri firstname.lastname@example.org
Yaela Gottlieb email@example.com