A PRIVATE MOVIE – development –
a long feature documentary by Gabriele Falsetta
“A private movie” is a documentary that follows the lives of seven men and one woman in their autumn of life, struggling with the rehearsals of a play: “The Cherry Orchard”, a masterpiece by the Russian playwright Anton Chekhov.
The eight main characters of this movie all have physical and mental disabilities. They spent pretty much their whole lives within the Cottolengo of Turin, an institute that provides assistance to physically and mentally disabled people, to the elderly, to orphaned or abandoned children, to drug addicts, to the homeless and to illegal immigrants. This is where they live and it will be the background to the entire story.
After the rehearsals are done every day, we will follow the lives of the actors as if we would be in the backstage. Real lives, not fictional ones like those of the characters they play on the stage: the waking up at dawn, the prayer, the relationships with fellow guests of the Institute, the daily duties, the enormous complexities arising from their condition, but also their fun moments and unexpected surprises.
The core of the play is Speranza, an elderly woman who behaves like a little girl lost in a world of old people. The garden is the sacred place of her childhood and it is going to be destroyed to make space for new housing buildings, to let the future advance relentlessly. A little entourage of friends of her tries to keep these memories alive for her, to push away the end of a dream and the forthcoming tragic awakening in a world that does not belong to ancient and magical creatures like they are.
These eight people are representative just like an historic monument. They didn’t really live their lives because of the many prejudices in our old society. A society that had them marginalized, carelessly labelling them like crazy or even as freaks.
“A private movie” wants to be a hymn to the lives of these survivors, and to all the people who were able to overcome the insinuations, superstition, and the indifference they’ve been treated with.
A valuable human memory of a world hopelessly disappearing.
2) REISE NACH JERUSALEM – on the set –
a German film comedy by Lucia Chiarla www.reisenachjerusalem.org
in collaboration with SCHIWAGO FILM & CAMELOT SERVICE Berlin
“Reise nach Jerusalem” is a game based on luck: You have to be in the right place at the right time – or there won’t be any chair left for you.
Alice has been unemployed for too long and she doesn’t win this stupid game anymore. Her friends got married, some had children and built a career while she’s writing job applications sitting on her shaky chair and with her broken notebook.
The employment office continuously invites her to some job application coaching, where she is forced to take persistent advices. Since some time already Alice has the feeling, that this has just the purpose of making the unemployment statistics look nicer.
Eventually, she has no patience anymore and ends up refusing the arrangements of the jobcenter.
In spite of everything, she still survives with petrol vouchers she gets from jobs in market research institutes – to exchange them for money, cause she has no car, of course. Her life becomes an absurd world of barter trade. Family and friends have no idea of how deep in trouble Alice is. Her persistent search for social acceptance cannot save her from the increasing isolation.
Time runs on her Japanese fortune cat watch next to her laptop: The rent remains unpaid, the bank is always calling because her account has a negative balance and she has no way to pay the phone bills. Alice keeps on fighting daily against electronic sounds that obstruct her way. And the petrol vouchers remain vouchers. Even Sex has its price, as she has to realize one night, as she tries to get rid of her isolation.
Therefore, she finally went to her neighbour Luca, who works as a stripper. A very intense encounter that will pull her out of her despair, just before facing a radical decision: Should she keep playing the game along or just let go?
3) OTHELLO SHOCK – development –
a script by Giulio Baraldi (German version below)
OTELLO SHOCK, is in planning for 2017.
Luigi, is a tenacious fourty-year-old theatre director. He is rehearsing Shakespeare’s Othello in a suburban theatre. Ten days before the opening night, the main actors quit after having an argument with him. One of them, Alberto, has had a relationship with Claudia, Luigi’s partner, for quite a while. She also leaves him with a phone call, putting an end to many years of life under the same roof.
Luigi is desperate and is about to leave his Shakespearian project. At the same time, he is under pressure because of Davide, a technician, and his continuous requests for money (he’s got some serious gambling debts). Another cause of stress is the contract with Mr Paloschi, the director of the theatre.
In the dressing room of the theatre, Luigi witnesses a jealous fit between Mario, the only actor left, and his girlfriend Sonia. Luigi is horrified by the violence of the argument and decides to give Mario the role of Othello and Sonia that of Desdemona.
Mario is a non-professional actor, and a schizophrenic. Luigi thinks he’s just discovered a lunatic and “unfiltered” actor. He hopes this “extreme” show will launch his career and pay for
OTHELLO SCHOCK, ist in der Vorbereitungsphase für 2016.
Thomas, ein zielstrebiger Regisseur in den Vierzigern, probt Shakespeares Othello in einem Theater am Stadtrand. Zehn Tage vor der Premiere gehen die Hauptdarsteller im Streit mit Thomas. Einer von ihnen, Albert, hat schon seit langem eine Beziehung mit Claudia, der Lebensgefährtin des Regisseurs. Per Telefonat verlässt diese Thomas nach Jahren des Zusammenlebens.
In seiner Verzweiflung ist er im Begriff alles hinzuwerfen. Aufgrund der finanziellen Verpflichtung gegenüber David, einem Theatertechniker mit schweren Spielschulden und wegen des Vertrags mit Kowalke, dem Intendant des Theaters, kann sich Thomas jedoch nicht erlauben, das Projekt abzusagen.
In der Künstlergarderobe des Theaters wird Thomas Zeuge einer Eifersuchtsszene zwischen Mario, dem einzigen verbleibenden Schauspieler, und dessen Freundin Sonja. Der Regisseur ist von der Gewalt des Streits beeindruckt und beschließt daraufhin, Mario die Rolle des Othello und Sonja die Rolle der Desdemona zu geben.
Allerdings ist Mario kein professioneller Schauspieler und leidet außerdem an Schizophrenie. Thomas glaubt, einen verrückten Darsteller gefunden zu haben, der ganz unvoreingenommen spielt. Er hofft, mit einer außergewöhnlichen Inszenierung seine Karriere voranzutreiben und so all seine Schulden bezahlen zu können…