CATTLEYA and RAI CINEMA present a

production in collaboration with

in collaboration with

QUANDO LA NOTTE When the night a film by Cristina Comencini

starring Claudia Pandolfi and Filippo Timi

length: 114’

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CREW

DIRECTOR CRISTINA COMENCINI based on the novel QUANDO LA NOTTE by Cristina Comencini SCREENPLAY CRISTINA COMENCINI DORIANA LEONDEFF

DIRECTOR ASSISTANT FRANCESCA ROMANA POLIC GRECO

CASTING DIRECTOR MIRTA GUARNASCHELLI

PRODUCTION DESIGNER GIANCARLO BASILI

COSTUMES FRANCESCA LIVIA SARTORI

SOUND GILBERTO MARTINELLI

EDITING FRANCESCA CALVELLI

PRODUCTION MANAGER SANDRA BONACCHI

DIRECTOR OF PHOTOGRAPHY ITALO PETRICCIONE

MUSIC ANDREA FARRI

LINE PRODUCER MATTEO DE LAURENTIIS

EXECUTIVE PRODUCER GINA GARDINI

A CATTLEYA PRODUCTION in collaboration with RAI CINEMA with the collaboration of FIP and Lumiq Studios with the support of Film Commission Torino Piemonte

PRODUCED BY RICCARDO TOZZI GIOVANNI STABILINI MARCO CHIMENZ

INTERNATIONAL DISTRIBUTION CELLULOID DREAMS

ITALIAN DISTRIBUTION 01 DISTRIBUTION

CAST

MARINA CLAUDIA PANDOLFI

MANFRED FILIPPO TIMI

ALBERT THOMAS TRABACCHI

STEFAN DENIS FASOLO

BIANCA MICHELA CESCON

LUNA MANUELA MANDRACCHIA

GUSTAV FRANCO TREVISI

SYNOPSIS

Marina is a fragile and insecure young woman struggling to be the perfect mother. Hoping a change of scenery will improve her baby’s sleeping habits, she decides to spend the summer vacation in the mountainside. Marina rents an apartment from Manfred, a gruff mountain guide who lives in an old house. He is distrustful of women. Manfred and Marina keep their distance until a harrowing event forces them together. Faced with an undeniable and growing attraction, they shy away from their desire. Fifteen years later Marina returns to the mountain to find Manfred.

INTERVIEW WITH CRISTINA COMENCINI

The film “Quando la Notte” has been my hardest film. It was shot in the mountains at high altitudes. Between one thing and another we were on location for almost 7 months, working in extreme weather conditions in places that could only be reached on foot or by helicopter. It was very tough, particularly in winter. We would spend 8 or 9 hours in the freezing cold (on Mount Moro, where the film was shot, temperatures dropped to ‐17° C!) without any shelter and scarcely any room to move around in. As is often the case in filmmaking, once a location was reached and set up we had to simply wait for the right moment to shoot. I think this incredibly strong, almost violent interaction with nature was somehow transposed to the film and gives it a certain power that goes beyond the actual story.

Macugnaga No film had ever been shot in Macugnaga before. Monte Rosa is an incredibly beautiful mountain which towers over the village and interacts with it. We received precious help from local mountain guides, in particular from Gianni Tagliaferro who was with us for the entire duration of the project. He accompanied us on location scouting and helped Filippo Timi understand his role as mountain guide, sharing with him the secrets of hiking. He also taught us how to avoid falling, particularly in one very complex scene in which Claudia had to run along a tight ridge and the cameraman and steadicam operator had to take turns to move forward or backward since there was only room for one person at a time. His assistance was invaluable, as was that of the cable‐car operators who ended up playing themselves in the film. We even used the people of the village, with their accents and local dialect, for the party scene. There was a great deal of interaction between the location and the film, and the end result is a testimony to this.

The locations The extraordinarily beautiful locations, chosen together with production designer Giancarlo Basili, were extremely difficult to get to. We used helicopters, jeeps, cable cars and chair lifts… Filming in exceptional places like these is what induces progress in film technology: you are continuously put to the test. It was an amazing experience for all of us, despite days of exhaustion and discouragement, days in which we craved an evening out or a movie with friends, or those early mornings in which it seemed impossible to get up in the dark, blistering cold. But this is all part of filmmaking. The actors ended up assimilating the village and the mountains, as if the harsh emotions of the film had found the ideal place to be interpreted.

The children The role of Marco was played by a set of two‐year old triplets: Gianluca, Vincenzo and Leonardo took turns on the set. At that age it is almost impossible to direct children, they do what they want and you have to resort to tricks. They had very different personalities: one was more adventurous, the other more prone to tears whereas the third had a calmer temperament. My father often used children in his films, although generally older than ours, and I learned from him that one must be as discrete as possible, constantly finding ways of hiding the camera. We created walls with fabric so that they couldn’t see us. But as time passed, we realised they got used to our presence and lost their awe of the camera. At one point one of them even called Claudia “Mommy”.

The story When I’m writing a book I never think that it may become a film, it is just a book. One of the aspects that most worried me about transposing “Quando la Notte” onto film was the way in which I had used introspective monologues in the book. It is the story of a man and a woman who do not know each other and, to gain understanding of one another, they listen and think. This is clearly not possible to portray on film. Paradoxically, Doriana Leondeff and I created this introspection in a completely objective manner. We used what movies are best at: the power of silence, fleeting glances and slow, reciprocal looks of desire. Another aspect which we were able to portray more powerfully is the mountainous landscape, the mightiness of the rocks, the cold and the ice.

The emotions “Quando la Notte” is about the profound differences between men and women bound by a child. Manfred was abandoned by his mother as a young boy and raised in a man’s world by his father and his brothers. He feels deep resentment towards women. Marina is a young woman on holiday with her son and does not have a man who understands her solitude and the ambivalent feelings of love and hostility she feels towards her son. Ironically Manfred turns out to be the only one who truly understands her: the suffering caused from being abandoned by his mother means he doesn’t take maternal love for granted. Relationships, particularly those with people different from oneself, are represented in the film by the two cable‐cars: they come from opposite places and only cross paths for a fleeting moment. I believe it is the very difference between men and women that gives rise to deep contrast, fear and ambivalence, but also to desire and, ultimately, to a possible miraculous understanding.

The cast Claudia Pandolfi and Filippo Timi had their first audition together. In fact it was the very first audition for the roles of Marina and Manfred. I could have just stopped and chosen them but, like all directors, I had endless doubts and therefore auditioned a number of other excellent actors and actresses. But Claudia and Filippo were perfect, both because of their age and their personality,. So were the other actors: from Thomas Trabacchi and Denis Fasolo, who play Manfred’s brothers, to Michela Cescon, who plays Bianca, they were all very genuine in their role. I think I put the cast through immense endurance tests, the protagonists in particular. I directed them with very precise indications of actions and movements. Initially they may have felt blocked by my creative aspirations. It is my way of working both with actors and the camera. I don’t really believe in spontaneity, whether in filmmaking or in creative expression in general.

The crew One of the most important roles of a director is to get people involved and to ensure that everyone gives their best: everyone must know what the film is about and contribute to it. The crew was fantastic. I had huge help from the entire lighting and camera departments, both from cameraman Fabrizio Vicari (a constant presence, who understood the film perfectly and proved to be very agile) and clearly also from Italo Petriccione. Italo is an excellent director of photography. The film is full of atmospheric imagery, spectacular rocks shimmering in the sun, piercing indoor shots and nights lit up by the mountains. We worked hard on the dual facets of the film: summer and winter, past and present, light and dark. From a technical point of view we used telephoto lenses for summer shots and wide‐angle lenses for winter scenes. Also, the first part is shot with a hand‐held camera, albeit a gentle and barely perceptible one. The costumes by Francesca Sartori are authentic, precise, perfectly integrated with the nature and the village and give each character their personality.

How much did the weather conditions affect your work? We had two key problems during the shooting: one was “what will the weather be like?” and the other was “will we be able to shoot this scene?”. First we wanted sun, then rain and greyness, and finally snow. Sandra Bonacchi, the production manager, was constantly in touch with our personal weatherman who provided real‐time updates. We had to be constantly ready to shoot everything. This meant the art department, too, had to have all sets ready so that we could instantly change location whenever required. The proximity of locations was to our advantage, making quick changes possible and thus meaning considerable time saving. The scene of the boy’s accident was very difficult because of continuity problems. The entire scene took place in the same house, with a clear indication of time passing and no intermittent outdoor shots. The scene spans from afternoon to evening, with outdoor light fading until it is completely dark in the house with a last shimmer of daylight. And all of this accompanied by incessant rain, made possible by fixing pipes around the windows which released pounding water against the windows. It was a tough match between real rain and fake rain, sun and fog. Another aspect was the cold. We tried to protect ourselves as best as possible, by our choice of shoes and by providing heaters, but there is nothing that truly shields you from the bitter cold when you have to stand around and wait for ‘action’: we had to just grin and bear it!

The house Manfred’s house is a key location in the story: it is not just where the accident occurs, but also the place where two strangers start listening to and observing each other. When we went scouting, Basili and I had in mind a somewhat sad, old and isolated house. The one we chose already had many of these characteristics and we recreated the others. For instance we planted more trees to make it appear more isolated. What eventually convinced us to choose that specific one was that we had access to all of it, we could shoot downstairs or upstairs according to weather changes. It also had a powerful aura about it, a sense of sadness and neglect. It is the house in which Manfred lived with his wife and kids and in which he now lives alone: the ideal environment in which to portray the encounter between two solitudes.

The mountain refuge The mountain refuge was only reachable by helicopter. That’s where we shot all the outdoors scenes and a few indoor shots. We had to film a very important scene there, the one in which the brothers end up in a fight on the night of the party. But helicopters don’t fly at night. We didn’t know what to do and eventually, because there were not enough accommodations for everyone, we decided to spend a sleepless night there. First we shot the fight, then we all gathered together to watch dawn break on Monte Rosa while, in the distance, we heard the sound of the helicopter returning to pick us up. It was an incredible experience.

The production This film was particularly challenging from a production point of view. Riccardo Tozzi, the producer, Gina Gardini the executive producer, Sandra Bonacchi and Beppe Serra all went to great lengths to ensure that everything worked to its best. The optimisation of a film shot in those conditions requires immense organisation and creative thinking, both in pre‐production and during production itself. We were given total support by Cattleya.

The script It is nice to make the odd change to a script once you get to a location. And I did so on this film, too, although not to its essence. For instance I found out that Macugnaga has a Walser community, who originate from Switzerland and speak their own language. Next to the ancient church is an 800 year‐ old lime tree which they consider sacred. We decided to film the procession around this tree. Every single community member came to take part: men, women and children all dressed in their traditional costumes. They also provided a 14th century Madonna which was carried during the procession as testimony to the great strength of women in this community.

INTERVIEW WITH CLAUDIA PANDOLFI

What struck you about this film? The first impact was obviously with the story, which I initially became familiar with from the book. I immediately felt comfortable with the possibility of interpreting a very crude and stark character. The book itself does not have a complex narrative structure. It is based on a series of alternating inner dialogues which tell the story and the telepathic interaction between the protagonists, Marina and Manfred. It was hard to translate it into words so we needed imposing locations, like the mountains. Perhaps because I am from Rome these came as a total surprise, the impact was overwhelming. Shooting at such cold temperatures wasn’t easy. The weather conditions were truly extreme. I had thought of myself as quite nimble, but making this film was an incredible challenge, a kind of emotional and physical Olympic game. I believe that is exactly what Cristina, to whom I entrusted myself completely, wanted from this film.

What was it like to work with small children? The role of my son was played by a set of triplets who soon considered me their “nanny”, helped by the fact that we shared the same tiny microcosm and it was therefore easy to develop a relationship off set too. But all the pre‐production work was completely overturned by their different personalities which emerged during production itself: for instance we had thought that one of them had quieter disposition and therefore allocated specific scenes to him, but it then turned out not to be the case. While we were trying to explore their resources, they indulged us with some genuine surprises and some very moving moments. Perhaps because I am the mother of a four year‐old, but having these three toddlers to cuddle was crucial and very beautiful. During this project we lived in a kind of exile, it was hard to relate to our normal lives. For me this resulted in a classic affection transfer: I transferred the love I was missing, of my son, to the three toddlers in the film. At one point it felt like Cristina wanted to quash my vitality, like life had done to Marina. Her input was very psychological and I found this very stimulating. The one thing I like is to be directed at 360°: not just in acting but in body language too. My words and my mind were somehow steered by Cristina.

How much did the location influence your frame of mind? The isolation made me feel melancholic more often than I normally do. The mountains, as happens in the film, ended up being claustrophobic. The different stages of filming seemed to correspond to the changing state of mind of the characters: Marina arrives in the mountains during the summer, full of good intentions. She then feels her natural disposition taking over and the environment certainly doesn’t help.

Did you train for this film? No, I didn’t and I was exhausted at the end of every day. There is a part in the film in which I am constantly running uphill carrying a rucksack in the rarefied, mountainous air. My years as a gymnast helped a bit, but it was a completely new experience even from a physical point of view. All this is part of the magic of this profession. It provides opportunities for extraordinary experiences, including being flown to a set by helicopter… amazing!

INTERVIEW WITH FILIPPO TIMI

How did you prepare for this film? I learnt to walk again. I went to Macugnaga on the 20th August with Gianni, our real mountain guide, and with Francesca, our assistant director. We walked for hours on end. That’s when I realised that hiking in the mountains requires a particular skill. Whether walking downhill or uphill, you must learn to use your arms and knees in order to distribute your weight properly. I discovered a whole new world in which you are challenged by the power and sacredness of mountains. Facing a colossal such as Monte Rosa, you feel tiny. The first impact with the environment was exciting, then a feeling of closure took over. We spent over three months in this tiny, remote village, entirely focused on the film. The cold weather arrived, but it wasn’t the sort we needed for the film. There were days that we would stand around, all organised, made‐up and with our lines prepared, but without knowing whether we would be able to shoot or not. So we waited for the real winter to arrive and, when it did, it was overwhelming! It wasn’t easy. But the location was important to all of us. For my role in particular it was crucial that I understood the silence and the harshness in order to interpret the special kind of mental, vocal and physical closure which is so characteristic of mountain people. Manfred is a man who was born a raised in the mountains, in an enclosure, surrounded by colossal rocks. He inevitably bears the weight of them inside him. It was interesting to feel both fragile and protected, to be constantly surrounded by peaks which hid the horizon from you and which were simultaneously both protective and smothering.

And how did things go with Cristina? At first we went through a kind of study phase: I think she thought I was even crazier than I actually am. But then she saw that on set I am fully aware of the authority of the director. It is s/he who has absolute power. I admit there have been times that I have worked with directors who I was not fully convinced about and therefore did not give my best in a scene and ended up making their life difficult. But that wasn’t the case with Cristina. What she imagined my character’s nature to be was exactly as I imagined it too, so in three months there wasn’t a single “I don’t agree”. On the contrary it was more like “yes, you’re right, this is it”. We had exactly the same vision of who Manfred was.

What do you remember most of this film set? It was incredibly hard work, more psychologically than physically, because interpreting a man who holds everything in, who is totally introverted, is excruciating. You spend 8 or 10 hours trying to express something which is very different to what you’re feeling, and when you get home you are simply exhausted. But the fact of being in such a small, concentrated place was very beautiful precisely because of the unity that was created between everyone: we were all part a wholeness, from the grips to the assistants to the runners to the costume and set designers. Some days we had to all carry things on our shoulders and trek across rocks and the glacier, on chair lifts and on foot, in order to reach a location for a specific scene: a convoy of crazy people. It was truly amazing! Another aspect I was particularly elated by were the love scenes. And not just because of Cristina’s female approach, always ready to portray a different facet of women’s nature, but because I discovered something different, I underwent a kind of small‐scale, personal emancipation.

What drove you to want to play this role? When I read the book I thought: I am Manfred, full stop. I come from Umbria and am a bit of loner who was brought up in a family with a very uncommunicative father, so I already had many of Manfred’s traits, both in terms of mental closure and a certain skittishness. There is a bit of Manfred in me both genetically and physically, a certain physical and vocal harshness. To me it is fundamental to take on a role without prejudices, without any hatred, otherwise you deny yourself the possibility of certain expressive nuances. On the contrary one should embrace everything, every nitty‐gritty detail. There was a side of Manfred’s character which I didn’t like, even though I knew he was created that way and rightly so. It was his way of being aggressive, rather than declaring his fragility, in moments of difficulty. I see something similar in myself and that’s why I didn’t like it. I too at times (such as at the end of a production) create a barrier between myself and others. I close up as a defence mechanism to avoid that sense of separation which deep down makes me suffer and despair. I too, like Manfred, sometimes feel the abandoned child syndrome, though of course I wasn’t abandoned by my mother like he was. But I am often worried that the people I am closest too will not be there in moments of need. The character I play isn’t the giving kind. He is restrained and prefers obliterating, he chooses to abandon rather that be abandoned.

What does this film mean to you? When I thought back to some of the mountain scenes I realised that this was an epic film. Contemporary but epic too. A film which tells a primordial story, a genesis, like Adam and Eve but without the catholic legacy. And that’s precisely what makes it so exciting, it embodies an exemplary story without having to say so explicitly. I once even called Cristina in the middle of the night to tell her so: “I’ve got it, I’ve got it, we’re telling an exemplary, epic story” I said. “Good night” she replied.

THE CREW ‐ filmographies

CRISTINA COMENCINI (writer and director)

Born in Rome in 1956. The daughter of director Luigi Comencini, she debuted as an actress in 1969, directed by her father in Infanzia, vocazione e prime esperienze di Giacomo Casanova, veneziano, with Tina Aumont and Maria Grazia Buccella. After graduating in Economics and Commerce, she worked for a few years as journalist and researcher in economics. Her career as a writer began when she worked with her father on the script for the TV movie Il matrimonio di Caterina (1982) and the feature film Buon Natale... Buon anno in 1989; she was co‐scriptwriter with Ennio De Concini for Quattro storie di donne (1986) and author, together with Suso Cecchi D’Amico, of the TV films Cuore and La Storia, both directed by her father. In 1988 she made her debut as director with a light‐hearted and gracious story, Zoo, which was followed by the ambitious and elegant I divertimenti della vita privata (1990), the cryptic and tortuous La fine è nota (1992) based on the novel by Geoffrey Holliday (The End is Known), the lucky Matrimoni (1998) and Liberate i pesci with Michele Placido and Laura Morante, and then in 1995 Va’ dove ti porta il cuore, the portrayal of the well known bestseller by Susanna Tamaro. In 2005 she directed La bestia nel cuore (Don’t tell), nominated for an Academy Award for best foreign film, and whose protagonist, Giovanna Mezzogiorno, won a Volpi Cup at the Venice Film Festival. In 2008 Cristina Comencini returned to film‐making with Bianco e nero, a comedy and passionate love story between a young Italian man with little knowledge of Africa and a Senegalese woman who has been living in Italy for ten years.

In 2010 she wrote the screenplay for La donna della mia vita directed by Luca Lucini

Cristina Comencini is also a writer and director of plays for the theatre (Due Partite, 2006; Est Ovest, 2009; the dialogue Libere, 2010) and has written several novels, published by Feltrinelli (Pagine strappate, 1991; Passione di famiglia, 1994; Matrioska, 2002; La bestia nel cuore, 2004; Due partite, 2006; L’illusione del bene, 2007, which was short listed for for the Strega Award; Quando la Notte, 2009).

DORIANA LEONDEFF (screenplay)

Born in Bari from an Italian mother and Bulgarian father. She has a degree in literature and a diploma from the Experimental Film Centre. She lives and works in Rome.

2000 PANE E TULIPANI by S. Soldini (Best screenplay awards: David di Donatello, Silver Ribbon, Premio Flaiano, Ciak d'oro) 2002 BRUCIO NEL VENTO by S. Soldini 2004 AGATA E LA TEMPESTA by S. Soldini L'AMORE RITROVATO by C. Mazzacurati 2005 AMATEMI by R. De Maria 2006 LEZIONI DI VOLO by F. Archibugi 2007 LA GIUSTA DISTANZA by C. Mazzacurati (Nastro d’argento for best screenplay) GIORNI E NUVOLE by S. Soldini 2009 IL GRANDE SOGNO by M. Placido 2010 COSA VOGLIO DI PIÙ by S. Soldini LA PASSIONE by C. Mazzacurati 2011 IL COMANDANTE E LA CICOGNA by S. Soldini (work‐in‐progress)

ITALO PETRICCIONE (director of photography)

2000 RAVANELLO PALLIDO by G. Costantino DENTI by G. Salvatores 2001 AMNESIA by G. Salvatores TRE MOGLI by M. Risi 2002 SCACCO PAZZO by A. Haber (2002 HD) IO NON HO PAURA by G. Salvatores (awards: Nastro d’argento and Ciak d’Oro for best photography ’03; nominated for the European Film Awards ‘03 and David di Donatello for best photography 2004) 2003 ALLA LUCE DEL SOLE by R. Faenza IL PARADISO ALL’IMPROVVISO by L. Pieraccioni 2004 PROVINCIA MECCANICA by S. Mordini (Berlin Festival 2005) LA FEBBRE by A.D’Alatri (Nastro d’argento nomination for best photography in 2006) 2005 TI AMO IN TUTTE LE LINGUE DEL MONDO by L. Pieraccioni QUO VADIS BABY by G. Salvatores (Nastro d’argento nomination for best photography in 2006) 2006 MI FIDO DI TE by M. Venier 2007 UNA MOGLIE BELLISSIMA by L. Pieraccioni 2008 GENERAZIONE MILLE EURO by M. Venier COME DIO COMANDA by G. Salvatores (David di Donatello nomination for best photography) 2010 HAPPY FAMILY by G. Salvatores (Nastro d’argento nomination for best photography in 2010) 2011 IL VOLTO DI UN’ALTRA by P. Corsicato (work‐in‐progress)

THE CAST ‐ filmographies

CLAUDIA PANDOLFI (Marina)

Television 2000 COME QUANDO FUORI PIOVE by M. Monicelli PICCOLO MONDO ANTICO by C. Th Torrini 2001 IL SEQUESTRO SOFFIANTINI by R. Milani 2002 DISTRETTO DI POLIZIA 3 by M. Vullo 2003 DISTRETTO DI POLIZIA 4 by M. Vullo and R. Mosca 2005 DISTRETTO DI POLIZIA 5 by L. Gaudino 2006 NASSYRIA by M. Soavi 2008 I LICEALI by L. Pellegrini QUO VADIS BABY? by G. Chiesa DONNE ASSASSINE by A. Infascelli 2009 I LICEALI 2 by L. Pellegrini 2010 DISTRETTO DI POLIZIA 10 by A. Ferrari 2011 IL TREDICESIMO APOSTOLO by A. Sweet

Cinema 2002 ALEX RUN ‐ LA CORSA DI ALEX by J. Jensen 2004 LAVORARE CON LENTEZZA by G. Chiesa 2008 AMORE, BUGIE E CALCETTO by L. Lucini SOLO UN PADRE by L. Lucini 2009 DUE PARTITE by E. Monteleone COSMONAUTA by S. Nicchiarelli 2010 LA PRIMA COSA BELLA by P. Virzì SULLA STRADA DI CASA by E. Corapi FIGLI DELLE STELLE by L. Pellegrini I PIÙ GRANDI DI TUTTI by C. Virzì

FILIPPO TIMI (Manfred)

Theatre 2000 IL GRAAL directed by G. B. Corsetti 2001 EST directed by P. Rota IL GABBIANO directed by A. Milenin IL WOYZECK directed by G. B. Corsetti 2002 LE METAMORFOSI directed by G. B. Corsetti NELLA SOLITUDINE DEI CAMPI DI COTONE directed by A. Milenin POLAROID MOLTO ESPLICITE directed by E. De Capitani SOGNO DI UNA NOTTE DI MEZZA ESTATE directed by E. De Capitani 2003 LA MORTE DI DANTON directed by A. Popowski. THE AGE OF CONSENT directed by (and with) F.Timi in collaboration with F. Santoro 2004 METAFISICO CABARET directed by G. B. Corsetti PARADISO directed by G. B. Corsetti 2005 ARGONAUTI directed by G. B. Corsetti I COSMONAUTI RUSSI directed by L. Pelli IL COLORE BIANCO directed by G. B. Corsetti 2007 LA VITA BESTIA directed by G. B. Corsetti 2009 IL POPOLO NON HA IL PANE? DIAMOGLI LE BRIOCHE directed by F. Timi 2010 FAVOLA directed by F. Timi

Television 2009 BORIS by D. Marengo 2010 CROZZA ALIVE broadcast on the channel “la7”

Cinema Since 1998 he has worked with Tonino De Bernardi as actor and screenwriter for the films “Rosatigre”, “Farelavita”, “Marlene De Susa”, “Appassionate”. 2000 APRIMI IL CUORE by G. Colagrande ROSATIGRE by T. De Bernardi 2001 500 by Robbiano\Vignolo\Zingirian FARE LA VITA by T. De Bernardi 2002 LA STRADA NEL BOSCO by T. De Bernardi 2004 MARLENE DE SOUSA by T. De Bernardi 2005 TRANCE by T. Villaverde 2006 HOMO HOMINI LUPUS (short film) by M. Rovere IN MEMORIA DI ME by S. Costanzo ONDE by F. Fei 2007 SATURNO CONTRO directed by F. Ozpetek I DEMONI DI SAN PIETROBURGO by G. Montaldo SIGNORINA EFFE by W. Labate 2008 COME DIO COMANDA by G. Salvatores LA DOPPIA ORA by G. Capotondi VINCERE by M. Bellocchio 2009 THE AMERICAN by A. Corbijn 2010 LA SOLITUDINE DEI NUMERI PRIMI by S. Costanzo MISSIONE DI PACE by F. Lagi RUGGINE by D. Gaglianone VALLANZASCA – GLI ANGELI DEL MALE by M. Placido

Director 2000 2° prize at the Festival of Bellaria with the short film “Atomiques les trois portes” 2003 THE AGE OF CONSENT (directed and starred in the theatre production) in collaboration with Federica Santoro 2005 O MAE SI TU ME VEDESSE ‘L CORE” (videopoetry)

Writer 2005 “Tuttalpiù muoio” published by Fandango Libri, written with Edoardo Albinati. 2007 E lasciamole cadere queste stelle” published by Fandango Libri 2009 Peggio che diventare famoso” published by Garzanti He has a permanent column called “La fiera del cinghiale” in the magazine Rolling Stone.