Italian Doc Season - Pure Unknown

 

Screening as part of the Second Italian Doc House season at Bertha Doc House

A collaboration between contemporaries, screenwriter Valentina Cicogna and director Mattia Colombo; this true crime documentary stars protagonist and forensic pathologist Cristina Cattaneo; who is portrayed as a fiercely passionate activist for the dead.

Working in Milan and administering autopsies to those who have passed on; Cattaneo is a unique person with a singluar voice. As she works, many bodies arrive with no identification or name - from the homeless, to the young and old, to migrants who seek a better life and die tragically in the sea.

Cattaneo and her team are stringent in the belief that all people deserve the right to a burial no matter who that person may be and what life they may have led. The lack of dignity to some dead is startling as the people who may have known these unknown people adds to the grief, even more startling is the faith that the grieving put in a television show over the police in the search for answers.

Much like Colombo's last film A Steady Job (screened at first Italian Doc House), this is a document to a time that is changing amidst a global pandemic. Cattaneo wears a mask in her work but due to the crisis, she and everyone she encounters is wearing a mask all except those she treats in death.

The engaging character of Cattaneo is one that keeps you involved with the film that is as concise and precise as the doctor. Shot with clarity and accomplishment, this film serves as a reminder that life is too short and no matter how it ends, respectfully the life should be cherished in its conclusion. There is a care and attentiveness required for the dead that we have lost in the land of the living - Cattaneo strains to make that point clear to her peers and students.

Special mention to the music by Zeno Gabaglio which offers a touching sombre piece to this sensitive topic which handles its subject matter with such dignity.

Pure Unknown screens at BerthaDocHouse on Saturday 27th January 3pm with a filmmaker Q&A afterwards.

Home - Bertha DocHouse

My thanks to Stuart Haggas for the review opporunity.

SVEGLIAMI A MEZZANOTTE (Wake Me Up at Midnight)

 

Fascinating documentary on personal trauma

Directed by Francesco Patierno, this is based upon an autobiography by writer and narrator, Fuani Marino, who attempted suicide by falling from the fourth floor of a building a few months after giving birth to her daughter, Greta.

Suffering from post-partum depression, Fuani makes the case that this was a build-up of pressures and emotions that led to her attempt to take her own life and leave the darkness she found surrounding her world.

Told with a mixture of archive photographs from her own family albums, with up to date photos and videos along with stock library footage; in unison Patierno and Marino craft a gripping and intense viewing experience that is both first-hand but welcoming to the audience to understand where Marino has been and is going.

The loss of her writing (left) hand following the accident is tragic for any writer, having to re-learn that skill and not being able to recognise your handwriting as your own is hard. What is telling is that Marino has now recovered and she is not trying to hide her suicide attempt - in her words the writing of the memoir on which this film is based was in fact a political statement on behalf of all those who choose to remain silent.

A gripping and intense watch that is rewarding in its naked honesty on a taboo subject; she lived so she could tell the tale.

Screening as part of the Cinecitta Italian Docs at Bertha Doc House receiving its UK Premiere on Saturday 24th June 6.30pm with a Q&A with director Patierno afterwards.

A Steady Job (Il Posto) - Cinecitta Italia Docs

New documentary highlighting the plight of full time employment in Southern Italy, screening as part of  Cinecittà Italian Docs

A Steady Job (Il Posto) focuses on graduate nurses and healthcare workers in Italy who compete for just a few vacancies in their desperate search for job stability. Filmed largely before, but ultimately impacted by, the coronavirus pandemic, it provides a disturbing overview of the labour market in Italy – a portrait of a tragically broken system.

 

Filmed in the hand-held form focusing on those trying to find work for these graduates, travelling to job fairs on long journeys, the documentary has this unfortunate air of resignation about the downfall of government to give jobs in a vital industry.

As the film notes in the beginning, one in two adults in Southern Italy are unemployed and so they travel on coaches to these job markets in the hope of gaining employment abandoning family with dreams still in their hearts.

A telling scene is when the man who arranges the trips for these hopeful souls is driving home with his business partner and he stops saying is it worth it for him to do this anymore in this recrutiment industry - the weight of the world and the burden he feels weighs heavy upon his shoulders. This moment is shot as an excised scene from Michael Mann's The Insider.

The ending of the film which poses more questions than supplying answers for those seeking employment, shows the individuals walking zombie-like with a melancholic ethereal electronic score underneath - this is a generation of souls lost without a direction in this world.

Filmed largely before but ultimately more impacted by the global pandemic, this overview of the Italian health system is both sombre and tragic. This film grips the audience and becomes an alternative road movie of sorts.

A Steady Job (Il Posto) will have its UK Premier and screen as part of the Cinecitta Italian Docs season at London's Bertha DocHouse on Saturday 24th June with a Q&A with directors Mattia Colombo and Gianluca Mattarese

Salvo

First seen on these shores during the 2013 London Film Festival when nominated for the prestigious Sutherland Trophy for debut feature film.  Salvo is visceral and dynamic bow by Italian pair Fabio Grassadonia and Antonio Piazza gains a theatrical release from Peccadillo Pictures on 21st March.

Salvo (Saleh Bakri) is the name of a Mafia hit-man in Sicily, Italy who is one of the best in the business as seen by the opening sequence when he takes out would-be aggressors.  His next big job involves him killing a rival clan.  During the job, he encounters a blind girl, Rita (Sara Serraiocco) who stands innocently by as Salvo kills her brother.  What follows is a morality tale between the two during intense exchanges, as Salvo becomes aware of his life's work and Rita becomes accustomed to her captor who spares her life and for both the journey together becomes one about redemption.

Shot on location in their hometown of Palermo, the directing duo bring a real sense of place and location to the action helped by growing up in the vicinity of the action.  The Mafia in Sicily is so prevalent to everyday life, the pair knowingly incorporate the myth and legend of the mafia into the story; the fear they hold over all who they surround is paramount.

Tellingly though, for a generic film of Mafia's built around the tropes of violence and action this film is slighter and softer; the eponymous hit-man is very methodical and deliberate in his actions which helps create an aura of mystique about him and a world of enclosure.
 
Bakri's performance of near muteness is a wonder here, his towering presence helping establish the solitary individual in his role; reminiscent of Clint Eastwood's famous Man with no Name and even Javier Bardem's performance as Chigurh in No Country for Old Men.

It is rare for a first time film to take such care in the construction of an aural landscape, the use of a particular Italian song when Salvo first intrudes Rita's house is a cleverly harked back to by the film's conclusion.

The sound design by Guillaume Sciama is exemplary and the script by Grassadonia and Piazza is first rate, conveying a sense of purpose for the lead characters without resorting to cheap narrative tricks and treating an audience with as much respect as they pay to their characters along with the situation they find themselves in.

Calling cards carry bombast, however the Italian pair have taken great pains to facilitate the world of isolation that both Salvo and Rita find themselves in; and the deliberate disruption of audience in terms of aurality and seeing and not seeing pays dividends.  Debuts can be clever, but rarely are they as intelligent and immersive as this.

Salvo (12A) is out on Friday 21st March from Peccadillo Pictures

www.peccapics.com