Demetrio Giacomelli

In a declining West, the director creates his alter ego, Totò Cannibale, to confront fears and impulses, amidst technology and extreme individualism.

No synopsis available yet.

The toad, the stork and the swallow. The encounter between man and wild animal in the city. By observing the activity which brings the protagonists of the three stories closer to the animal world, an intimate dimension reveals itself, something which isn’t immediately visible but which has always been present in mankind; something which can only return to its true essence through an otherness.

During the late 1960s, Emilio Sidoti, an elementary school teacher in Albisola, decided to make some movies with his students in order to develop their critical gaze in a free and radical expressive pathway. This was the start of “Cinema dei ragazzi,” Italy's first experience of “school and cinema;” it generated over twenty movies, all shot in Super8, and most of them were entirely written, directed, and edited by the children. Starting with the material of the time, this unique experience is put into relation with the present time, as the children of back then - who today are adults - are asked to recount the impression it left on them.

In a declining West, the director creates his alter ego, Totò Cannibale, to confront fears and impulses, amidst technology and extreme individualism.

In a declining West, the director creates his alter ego, Totò Cannibale, to confront fears and impulses, amidst technology and extreme individualism.

No synopsis available yet.

No synopsis available yet.

No synopsis available yet.

The toad, the stork and the swallow. The encounter between man and wild animal in the city. By observing the activity which brings the protagonists of the three stories closer to the animal world, an intimate dimension reveals itself, something which isn’t immediately visible but which has always been present in mankind; something which can only return to its true essence through an otherness.

During the late 1960s, Emilio Sidoti, an elementary school teacher in Albisola, decided to make some movies with his students in order to develop their critical gaze in a free and radical expressive pathway. This was the start of “Cinema dei ragazzi,” Italy's first experience of “school and cinema;” it generated over twenty movies, all shot in Super8, and most of them were entirely written, directed, and edited by the children. Starting with the material of the time, this unique experience is put into relation with the present time, as the children of back then - who today are adults - are asked to recount the impression it left on them.

During the late 1960s, Emilio Sidoti, an elementary school teacher in Albisola, decided to make some movies with his students in order to develop their critical gaze in a free and radical expressive pathway. This was the start of “Cinema dei ragazzi,” Italy's first experience of “school and cinema;” it generated over twenty movies, all shot in Super8, and most of them were entirely written, directed, and edited by the children. Starting with the material of the time, this unique experience is put into relation with the present time, as the children of back then - who today are adults - are asked to recount the impression it left on them.