PRODUCTION

SIGNORA VOLPE SEASON 3

(LINE PRODUCER)

IL MURALES Del campione

(EXECUTIVE PRODUCER)

HALLMARK

(LINE PRODUCER)

CASSINO IN ISCHIA

(LINE PRODUCER)

VIKING ON THE CROISETTE

A Viking leaves Denmark, lands in Italy, and spends a lifetime navigating the most dangerous sea in cinema: the Cannes film market.

DOMINA SEASON 2

(Co-Producer)

HANNAH

(Line producer)

ICONOCLAST

EXPERIMENTAL PROJECT BY PRADA. A SHORT FILM TO BE SHOWN DURING AN EXHIBITION AT THE PRADA FLAGSHIP STORE AT 6 RUE DU FAUBOURG SAINT-HONORE, PARIS. IT IS THE DEBUT AS A DIRECTOR OF THE FOUR TIME ACADEMY AWARD WINNER FOR COSTUME DESIGNING: MILENA CANONERO

VB 74

(VANESSA BEECROFT #74 PERFORMANCE AT MAXXI-ROME)

FIAT CROMA

THE FIRST COMMERCIAL DIRECTED BY PAOLO SORRENTINO STARRING JEREMY IRONS

SALOMÈ

A few years ago I produced and directed the film inserts that appear in the Opera “Salomè” directed by Robert Carsen, for Teatro Regio di Torino, Teatro Real in Madrid and Maggio Fiorentino in Florence.
We featured surveillance cameras footage on the monitors inside the vault of a Las Vegas Casino. They were used both as scenographic element and as a storyteller tool, showing actions outside the stage. It was in fact a video wall masked by production designer Radu Borosesku. Physically we never went to Las Vegas, to help the magic I had Michele Fuccio, Francesco Paglia and Sandro Pompei with me.

Velveteen Rabbit

iPad’s App featuring the voice of Yvonne Scio and the art by Zaelia Bishop

PERCHé NON PARLI

(Why don’t you speak)

We love the idea of spending an evening with an artist at a friend’s home, together with a small group of friends. To rediscover something that, for those of us who love art, we sometimes feel is missing from art itself: a private yet intense, fluid conversation, free from distractions. Among attentive people who, since we imagine there will be many, will have to take turns. What matters is that everyone is willing to be silent and to listen. Because sometimes this is precisely the dimension we miss in art: we see a lot, we often ask questions, but we rarely listen to those who are at the origin of those questions and of what has captured our gaze. For this reason, we want to approach the artist’s work from an angle that is not that of the exhibition, but of the spoken word. To hear directly from the artist something about their poetics and their thinking, beyond—and before—the interpretations we might impose.

The aim, therefore, is to give a voice to an artist without age discrimination, beyond schools or movements, choosing those who have something to say—and who may be in Rome or just passing through. To share this precious opportunity with others.