In development

Starting-tomorrow,-I'll-get-up-lateStarting tomorrow, I’ll get up late

The story of Starting tomorrow, I’ll get up late is loosely inspired by the life of Massimo Troisi, one of the greatest Italian actors, Oscar nominated, whose career peaked with the film, The Postman (Il Postino), receiving five Oscar nominations in 1996. Massimo Troisi died at the young age of forty-one, following a serious heart illness, while he awaited a transplant that would have taken place only days later. Massimo Troisi was a man with an exceptional talent, and a great personal warmth; witty and funny even in tragedy. >> read more




7-Dwarf-at-Auschwitz 7 Dwarfs at Auschwitz

DIRECTOR  Stefano Veneruso
STORY  Barbara Di Mattia, Michela Di Mattia,            Stefano Veneruso
SCREENPLAY  Anna Pavignano, Stefano Veneruso
PRODUCERS  Gaetano Daniele, Barbara Di Mattia,           David Guido Pietroni, Stefano Veneruso
GENRE  Comedy, Drama
LANGUAGE  English, Yiddish
SHOOTING  Romania, Poland, Israel, Russia





The-CAMPUS The Campus

“The Campus” is the thrilling story of a colossal lie which generates a web of crime. Set between the Stanford College campus and the spooky ultra-orthodox Mormon town of Nephi, this enigmatic network of death and young people’s dubious behaviour, comes to a violent climax with the cold-blooded massacre of a family. In an unrelenting sequence of breath-taking coups-de-scene, continually shifting our perception of the reality, the story’s revelation and solution will emerge in the epilogue, in the very last frame of the film. >>read more


90-Minutes-Engl90 Minutes

The Docufilm:  Eleven major champions of international soccer, just like an entire soccer team, tell their story. Legends that, for ninety minutes become people, children once more, transmitting, through their experiences, the values of sport, especially to those who look outwards to life.

Eleven segments of sixty minutes for each champion:  In addition to the “90 Minutes – docufilm” dedicated exclusively to the eleven champions, there is also an in-depth analysis with the duration of an hour for each protagonist (11 segments), to give voice to the people that are closest to them in their daily lives: trainers, relatives, lawyers, friends.



Neither-in-heaven-nor-on-earth--HQNeither in heaven nor on earth

Going through hard times means feeling completely alone. What would happen if two young women, very different from each other in language, culture, character, and life choices, having reached a critical point in their own existence, were to meet by chance? It could mean that they both discover, in the diversity of the other, a soft place of refuge, a compassionate mirror that reflects an acceptable image, a shore upon which to rest before pushing back off into the sea of life. It could mean that, in their diversity, they collide, one in each corner with their differences at their back, shouting the sincerest truth as only someone looking at you from the outside can. >>read more




Venice,-a-dream-ENGVenice, a dream…

In a Venice strangled from high water, Thomas, an American relocated in Italy for more than forty years, remembers his life: his love for his wife Ivonne, who died prematurely of a mysterious disease which has erased her memory, his son’s childhood and the missed dialogue, the other women whom he loved and lost (including a lonely fire eater). But Venice, beautiful and abandoned, continues to sink each day becoming more invisible; together with African grandson, with whom he communicates with few words and gestures, devise a daring protest to save his beautiful city.
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Diversamente-TroisiDiversamente Troisi


Note from the director:
Rereading Massimo poems and some of his texts I thought you could tell a good story, through a re-reading of the most significant pages of his life, from adolescence to the great international success, retracing his art, with some videos and unpublished anecdotes.





The-years-of-the-fatherThe years of the father

A young man in his thirties suddenly discovers that his long lost father is not dead but has created a new family for himself elsewhere. Corrado’s decision is final: in order to know and recuperate his father, he is prepared and willing to even give up the protective figure of his mother Rosa.
His father, Sebastiano, is more than ever on the run from his past. His typically bourgeois life, comforted by his family, for him indispensable, seems to protect him, unconsciously, from any sense of guilt, therefore from himself. At what price or condition is Sebastiano willing to recognize and accept, after so many years, his deliberately “forgotten” son?
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