IT
| Title | L'ULTIMA SETTIMANA DI SETTEMBRE |
|---|---|
| Movie Type | |
| Genre | |
| Section | |
| Country | Italy |
| Production Year | 2024 |
| Movie Length | 90' |
| Director | |
| Screenplay | |
| Cast | Biagio Venditti, Dan Borduz, Diego Abatantuono, Guendalina Losito, Marit Nissen, Monica Contini, Pinuccio Sinisi, Roberta Mattei |
| Director of Photography | |
| Editor | |
| Production Designer | Egle Calò |
| Costume Designer | Lilian Indraccolo |
| Makeup | Ilaria Zamprioli |
| Music | Andrea “Pupillo” De Rocco |
| Produced by | Attilio De Razza, Nicola Picone |
| Production | |
| International Distribution | |
| Festival Contact |
L’ULTIMA SETTIMANA DI SETTEMBRE
Pietro Rinaldi is an elderly writer in decline. Widowed and now tired of life, he plans to commit suicide on his birthday but an unexpected tragedy upsets his intentions. The sudden death of his daughter and son-in-law due to a car accident leads him to have to take care of his teenage nephew Mattia. Grandfather and grandson, who had until then ignored each other, find themselves living in a painful, yet unwanted, coexistence.
Categories: #Giffoni54 - 2024, Films Catalogue, Out of competition, Premiere
Director's Bio
During his studies at the DAMS in Bologna, Gianni De Blasi collaborates as assistant director on the film THE MIRACLE by Edoardo Winspeare. In 2003, after obtaining his master’s degree, he made an episode of the collective film A LEVANTE. In 2008 he graduated in advertising direction at the Centro Sperimentale di Cinematografia – Lombardy branch. He is assistant director of short films and films for cinema, including THE OTHER HALF (nominated for David di Donatello and mentioned at the Nastri d’Argento 2010), LA GIORNATA (nominated for the David di Donatello 2018 and awarded at the Nastri d’Argento 2018) and MY OWN GOOD by Pippo Mezzapesa. He directs commercials, videos for events, music videos, among others, for Bandadriatica, Mondo Marcio, Paolo Conte, Al Bano, Tonino Carotone, Après La Classe, Alborosie and others. He creates backstage from the sets of LOOSE CANNONS and FASTEN YOUR SEATBELTS by Ferzan Ozpetek. His documentary ALTAMENTE with Emir Kusturica, presented at BIF&ST 2015, won the jury prize at RIFF 2015 and is distributed on the Prime Video platform. His short film THE HANDOUT with Iaia Forte is being distributed in the main national and international festivals. L’ULTIMA SETTIMANA DI SETTEMBRE, starring Diego Abatantuono and Biagio Venditti, is his first feature film for cinema.
Director's Note
“A writer on the peak of success for a long time, Pietro Rinaldi is now dealing with decline. He finds himself alone and frustrated contemplating suicide as the last possibility of consecration.
But the grief that hits him forces him to finally open his eyes to find Mattia: the reflection of himself.
The trip with his nephew will not be a “back to life”, but rather a putting himself in the mirror to be able to accept himself, to forgive himself, to admit that he has to include himself among the categories of human beings that he would have written down in his notebook.
Pietro, going through the pain shared with his grandson, suddenly rediscovers himself as a cursed writer as a solid, original, witty and ironically rude grandfather. Not those who tell fairy tales, but those who, without false moralism, teach you to grow, leaving you free to make mistakes.
In turn Mattia finds a sense of himself in the world by absorbing the painful image of Pietro, becoming a necessary mirror for his grandfather. In the meantime he retains the characteristic traits of innocence: the passion for fishing, the awkwardness of first love, the sweetness that will invest Pietro when he finally hears himself called “grandpa”.
The road movie offers the pretext to find neutral ground on which the couple can move. But our style is very distant from the loquacity of the “Journey With Papa” with Alberto Sordi or from the pop mood of “Little Miss Sunshine”. Our film wants to be soft, poetic, and emotional.
A story on the “irony of fate” that affects all human beings. In this “playground” the camera moves between bursts and pauses, to center the moods of the characters, remaining to observe them above all in their “not telling themselves”. From fixed and fixed shots we slide onto fluid camera movements, in a close observation that conveys a realistic style.”