Maria S. lives nearby the seaside, within the province of Naples. She has a precarious job and no love ahead. Her mother is essentially mute. Forty years before, an extreme left-wing activist killed her father, a near-twenty-year old vice-brigadier, during a political rally. Maria was born two months after the killing. One day she found out that the killer had a name, a face and a job; he now lives in Milan after having paid for his murder in prison. “Now I know the person to detest,” thinks Maria. Then, she paints her hair and takes a high-speed train to get to know him. But she has a gun with her.
(Naples, Italy, 1940) acquired extensive experience as a set designer for Rai Centre in Naples. Moreover, he has taught set design at the Academy of Fine Arts. His first project Vito e gli altri (1991) was selected and awarded at the Critics Week of the Venice Film Festival, while Capuano won the Silver Ribbon as Best Debut Director. This is the film that proclaims the beginning of the new wave of the 1990s Neapolitan Cinema. Capuano has been invited at the Venice Film Festival several other times: in competition with Sacred Silence (1997), Red Moon (2001) and the collective film I vesuviani (1998); again in Venice Days with Dark Love (2010), in the Critics Week with the film Bagnoli Jungle (2015). The Dust of Naples (2000) and Mario’s War (2005) were presented at the Locarno Film Festival.
Vito e gli Altri (1991), L’unico paese al mondo (cm, 1994), Pianese Nunzio 14 Anni a maggio (1997), Pallottole su Materdei (cm, 1995), I vesuviani (ep. Sofialorén, cm, 1998), Polvere di Napoli (2000), Luna Rossa (2001), La guerra di Mario (2005), Bianco e nero alla ferrovia (2006), Giallo? (2009), L’amore buio (2010), Bagnoli Jungle (2015), Achille Tarallo (2018), Il buco in testa (2020).
“It all begins with the arrival of Maria in Milan. It's morning. The camera sticks to her, follows her throughout the day, all long the the story. She wants to discover and know the reasons that brought her there, to meet the man who killed her father forty years earlier – the mess of her daily life... She wants to understand it, love it a little. Without renouncing, also, to listen to the words of the man, his bitter truths. In the end it is evening. Everything else is flashbacks.”