A quirky comedy combining two struggling actors, a Turkish restaurant and a surprise call from Hollywood’s very own Quentin Tarantino.
12 minutes, 4K DCP, Color,
The Actors Temple, 2012, UK,
mark Wakeling + Manlio Roseano
written And Produced By
sound And Mixing
director Of Photography
1st Camera Assistant
2nd Camera Assistant
Gaffers Gregory Britten
Ally Wingate - Saul
camera And Lenses
essex Insurance Brokers
Stanley & Anthony are fed up with relying on others for an acting break, so they meet for lunch to discuss their very own project. Then Stanley gets a phone call. The infamous Quentin Tarantino invites Stanley to LA for a screen test. Stanley can’t believe it. This is the kind of break he’s been waiting for, for a long time. This is very hard for Anthony to deal with, especially when it turns out that Stanley had met Tarantino recently, but never mentioned it. It’s not the kind of info and actor withholds from another actor, especially when he’s a friend. The battle lines have been drawn. But just when Stanley feels his luck has changed, Tarantino calls again. The Producers want someone ‘a bit older and a little bit taller’ than Stanley. Stanley is crestfallen.
Anthony is appalled. The two are now back on equal footing in terms of status and power. But the chess players in the sky have not finished with these two yet. Another call, this time from Anthony’s Agent. Anthony has now been offered the very same screen test. What a turnaround. It is very awkward between the two of them. Across the table, Stanley is dejected, trying his utmost to be philosophical about what could have been. During the final moments the waitress brings the bill to the table. Who is going to pay it. There is a standoff.
Many years ago my dear friend and actor Gary wrote this short story almost like an exercise based on his true experience with another fellow actor and friend of his. Since then, Gary and I always wanted to turn it into a film, but for many reasons and due to both his and my schedule, we carried on postponing the shoot. Until one day in spring 2012, we finally decided to make it happen.
It went almost like that:
- “Manlio, what are you doing in July?”
- “Not much, why?”
- “Should we shoot the film?”
- “Gary, are you busy?”
- “Not really.”
- “Well, then let’s do it.”
- “Good. I start making some phone calls.”
- “Great. I better get my colored pens and start working on the shot list.”
- “Good, Manlio. I take care of the restaurant.”
And there we go.
One sunny Sunday in July, we were shooting the film in one location, on one single day. It was quite a challenge for a director, I must say, but thanks to my great crew and very patient and well trained actors, I managed to shoot 45 camera set-ups (slates) in less than 10 hours. It was an incredible experience. Some people think it was all thanks to my famous colored pens, but that’s another story. We had so much fun and laughed a lot during the shoot. Everybody was very relaxed and happy. I also think this short film is the only film in the world to have all the background artists played by Maisner trained actors. The post-production was made by Gary and me back at my place in the middle of the Italian Alps. By the end of August it was all finished, so Gary and I decided to send it out to a few festivals around the world. I was really surprised when many festivals liked it and we ended up winning a few awards. Of course I went everywhere it was officially selected and most of the time I brought back a nice little award with me. One day, I was in Cannes for the Film Festival for my other projects and I got an email from a buyer. He said he saw the short film in the Short Film Market Program and wanted to buy it. This was the cherry on the cake. Shortly after another buyer from Russia wanted the film. So there you go, what started as a favour and almost a joke among friends ended up as an international awards winning short film available on demand on the internet platforms. It’s true: the best things always start for fun and end up for real. Thanks Gary.
Golden Remi Award for Best Independent Comedy Short Film at the 46th Worldfest Houston in 2013.
Best International Short Film at the 6th Indie Spirit Film Festival in Colorado Springs, CO, USA in 2013.
Official Finalist at the Barcelona International Film Festival in 2013.
Official Finalist at the Berlin Independent Film Festival in 2014.
A man, his lover and an unexpected return of his fiance leads this improvisation driven short story towards tragical consequences.
5 minutes, HDCAMP, Color,
Rutger Hauer Film Factory, 2008,
Sarah wants to surprise her lover Aaron by waiting for him in his apartment and tiding herself up in bed for a long sex night. Unexpectedly Aaron’s girlfriend Claire, on her anticipated return from a business trip, had the same idea in surprising Aaron. When she enters the bedroom, she finds Sarah half naked tied in bed. Claire is shocked. Sarah tries to free herself and flee, but a furious Claire is soon on top of her. The two women struggle and Sarah end up killed. Claire, now, with Sarah’s body in the bedroom, has to face the consequences.
Aaron comes back expecting to meet Sarah, but sees Claire, instead, waiting for him. He does’t know what happened to Sarah and tires to send her a message warning her not to come home. Claire tries to investigate on him and at the same time to hide her murder. Both of them hide a terrible truth. The tension rises and eventually explodes, when Aaron finally manages to send Sarah a message and her mobile phone rings in the bedroom. Claire and Aaron have a fight and an accident is fatal for him.
This short film was shot as part of the director’s master class at the Rutger Hauer’s Film Factory in Rotterdam at the end of January 2008. Attending the master class and being able to shoot the short film together with other young people was one of my best experience in life and not only on the professional level. Working with Rutger is also something a filmmaker always dreams of. All the participants were divided into 6 classes, covering all the major roles in filmmaking, therefore in each class there was a writer, a director, a DoP, a producer and an editor. This small crew also had a small number of assistants from the local professionals and as many restrictions you can think of as part of the exercise. Shooting with the brand new Sony PMW-EX1 in full HDV 720/25p, was about the only luxury we could put our hands on. One location, 2 fixed actors only, limited lighting equipment, 2 days of shooting, were the rules. Too nice to be true, so at the last day of pre-production, Rutger thought of something special: let’s give each crew a handicap, such as: only available light, change of the location, no sync sound, dcc, otherwise it’s too easy. We got to work with an extra actress, so we had to insert another role in the
script. No big deal as the script was really our main problem, but the actress was a big pain. But that’s life; you have to work with what you have. I must say, though, despite everything else, I never had so much fun and enjoyed so much during the shooting. With the two main actors (Ronald and Saskia) I had an amazing understanding and chemistry from the beginning. I let them improvise and build the main scene from just the key elements of the script. I remember walking to the set the morning of the first shooting day with no script to shoot, only a situation we needed to follow and bring something in the can. By the early afternoon, when we were finally ready to roll camera, after working intensely with the actors, real magic came from their performances. I think you cannot ask more from your crew and your actors. Amazing. The story and all the rest were and remain a directing exercise. The version you are able to see on-line is just a smaller version of the entire film. Beautifully cut by Paul Tekenbroek, is the only version we could do in just 3 days of post-production. I am planing to edit a director’s cut as soon as possible. Also my cinematographer friend Maurits Obbema will have the DoP’s cut of the film. Let’s see. It’s going to be fun.
On a winter night, the priest of Saint Margaret, Don Guglielmo, has been found dead, apparently of natural causes.
For a long time he was studying and keeping very jealously, three ancient parchments. Those text describe the existence of a mysterious treasure linked with an ancient esoteric cult: the Benandanti, or “Good walkers”, and they seem to be connected with his death.
His young niece and only heir, Arianna, unaware her uncle’s studies, seems to not know about her uncle’s conspicuous Swiss bank account.
The controversial contribution of the eccentric professor Moretti, expert of popular traditions and ancient cults, in solving the case, doesn’t lead to the desired solution.
The case gets more intrigued when also the sacristan of Saint Margaret is found dead in mysterious circumstances. Why Don Guglielmo died from an heart attack even with a healthy heart? What are really those ancient parchments and their mysterious treasure? What was the priest using the money in Switzerland for and what are the professor’s real intentions? Together with his fellow Ventura, the inspector Cellini will try to solve this uneasy case moving between the ancient and esoteric world of the Benandanti and the everyday reality of a small city in the north-eastern Italy.
Super 16mm, Colour 70 minutes
Skené Snc, 2001, Italy
Thomas De Renzo
Director of Photography
based on the novel
“il tierç lion” by Sergio Cecotti
Piera Moro + Manlio Roseano
Between the 14th and 15th century, and found in the Friuli region of northeast Italy, an ancient fertility cult flourished.
It was called the legend of the Benandanti. The Benandanti were said to be spiritual defenders of the harvest.
Fighting in the name of God against evil witches and sorcerers who, through all manner of terror were set on the destruction of the year’s crops and other chaos.
The people, primarily the farmers believed that the Benandanti were Holy Spirits who were sent by God to protect them and allow for a rich harvest for the coming year. They were also thought to possess fantastic powers of prophecy, healing and over life and death itself.
The Church however, was not willing to accommodate such phenomena, so the Benandanti were condemned as heretics.
Ultimately, the Benandanti, under pressure from the Inquisition, disappeared in under a century. The group was forced into hiding and its leaders underground in order to protect their secrets, or die in the effort.
Some say that descendants of the Benandanti live in secret among us today.
In a winter night at the rail station of Udine, a priest has been found dead on a train. It’s Father Guglielmo, parish priest of Sclain, a little church in the countryside of Udine.
Inspector Cellini and his colleague Ventura arrive at the station. They look at the dead body. Apparently, according to the doctor, the priest died of natural death. There are no particular clues among his personal belongings. He bought a return ticket to Lugano, Switzerland, the day before, and that night he was going home. They also find a picture of a young lady in his wallet. She’s his niece, the only relative the police can contact and inform. The body is finally removed.
The next day at the identification of the body by the niece (Arianna Beltrame), there are also the inspector and his colleague. She is still shaken from the night before and Cellini tries to comfort her by being nice and friendly. He follows her outside the building and talks to her.
The autopsy has started and the two policemen are waiting without much interest. Suddenly the doctor stops. The heart of the priest looks perfectly healthy and that’s a bit odd for an heart-attack victim. He wants to know more about it. He looks in the stomach and he’s surprised to find that there is no food, but a strange liquid. Probably it’s a kind of unknown drug.
The first thought of the inspector is that the drug itself is the cause of the hearth-attack. The doctor is not convinced. He wants to finish the job as soon as possible, he doesn’t want to loose more time with this patient. Cellini, though, insists that a better and more precise analysis on the drug should be carried out. This will take some time and the results will be ready in a few days. The inspector rules out the possibility of a suicide. It doesn’t make sense that someone commits suicide on a train by drinking a lethal drug and especially not far from home. Therefore, either the priest must have been forced to drink the drug, but with no violence (the signs of struggle are missing), or he drunk the drug by accident.
A case is opened and the police starts the investigations straight away. There is the inspection of the rectory and the church of Sclain. Cellini questions the sacristan about the life of the priest. Father Guglielmo spent the last years of his life studying three ancient parchments. They have been found during the refurbishing works of the church after the earthquake in 1976. The priest was used to travel a lot and for short periods. The police finds all the documents and writings of the priest together with a little book containing all the bank statements of a Swiss bank account in Lugano. Everything is seized and the sacristan is very worried about the parchments. Those ancient text are very valuable and they tried to stolen them more than once. Many people also tried to borrow them for studying, but Father Guglielmo was very jealous about them. The sacristan also tells the police about a historian, a man of culture that was used to meet Father Guglielmo quite often and more than once, they had arguments on the parchments and their story. This historian, professor Moretti, is an expert of religion history and popular traditions. The inspection is over and the inspector and his colleague go back to the department.
Through additional researches the police discovers that in the Swiss bank account of Father Guglielmo there are a large sum of money in US dollars and many stocks, furthermore that the only relative, and therefore heir, is his niece Arianna. The last money transfer has been done Friday morning, the same day he died. Ventura stays at the office, while Cellini goes and meets the niece. She is very kind and polite although a bit distant. He suspects that she has doped her uncle to inherit the money. The inspector tells her about the Swiss account, but she is quite surprised in hearing that. He questions her about the frequent travels of her uncle. She does have a very strong alibi and tells the inspector more about her family. She knew only that her uncle was studying the ancient parchments and that he was used to travel a lot, nothing more. At the end, the conversation turns more informal and a slight feeling starts between the two.
That night Cellini drives to the historian house, in a secluded place in the mountains. The welcome is not one of the best the inspector is awaiting, at the contrary the historian is very upset to see the police in his house. Cellini tells him about the priest and his death and asks about the value of the parchments. Moretti at the news of the priest death, reacts in a strange way. He gets angry and makes the inspector leave at once. Cellini leaves him his card anyway, just in case the historian should change his mind. Driving back home, the inspector thinks about the happenings of the day and about the historian strange reaction.
Sunday morning Ventura goes to wake up Cellini, bringing him the latest news of the case. Father Guglielmo was used to go quite often in Switzerland and there is another bank account, this time in a bank in Udine where money was transferred and taken in cash on a regular basis by the priest himself. The phone rings. It’s the historian. He has changed his mind and wants to meet the inspector. Cellini meets Moretti in a bar, downtown. The historian informs the inspector on all he knows about the parchments. He explains the story and the myth of the ‘Benandanti’1 and what has been proved and written on the subject. The inspector is very intrigued. The historian also insist on the fact that they should read and analyse the parchments, because they might contain the truth on Father Guglielmo’s death. Also, they contain the way to a treasure and therefore they need to be translated and decoded. Cellini promises him the copies of the parchments so he can start studying them and he appoints him as an expert on the case.
The inspector goes back home after taking with him the copies of the parchments and the writings of the priest. He starts looking at them. He studies them the whole afternoon, without understanding much about them, really. In the evening he is fed up with all the Benandanti business and decides to call the niece with an excuse. He wants to meet her. He’s convinced that she’s lying and that she knows a lot more. The only way to solve the case, according to him, is by question her and not by decoding the parchments. At her place Cellini is pestering her with questions. He wants to prove his suspicions. He asks her what does she know about the ‘Benandanti’ and if her uncle was one of them. Does she know the historian? He questions her more about her family to make her confess the motive. They start an argument. He accuses her of killing her uncle with the help of a party to get hold of the parchment treasure, converted by the priest in the Swiss account. She starts crying and he must go without enough evidence to frame her.
In the meantime the historian carries on with the study of the parchments. He goes to the Archiepiscopal Archive to read the ancient trial documents of the inquisition against the ‘Benandanti’ in the XVI century, to know more. He is very excited to have this opportunity, while Cellini thinks it’s a big waste of time. The inspector goes back to the niece to apologise for the night before. He knows it’s her birthday, so he takes her out for dinner. She seems forgive him and she accepts the invitation. They are having dinner in a romantic and cosy restaurant. Cellini is going to make her talk with a gentle touch. He tries to get as much information as he can get on her uncle and on his business in 1 Benandanti: During XVI and XVII century in Friuli (north-east of Italy) there were several myths and popular believes based most of the time on agricultural cults. One of them were the Benandanti. These were people that were born still inside the amniotic membrane and therefore considered ‘special’. They were able, four times a year (in the four tempora: the four changes of seasons), to leave the body with their soul and fight the witches and bad spirits. Once the soul was leaving the body it was going to distant meeting places, together with other ‘benandanti’ to start the battle. If the ‘benandanti’ were victorious, for that year there were abundance of fruits and harvest. If they were defeated by the bad spirits, there were famine and bad presages. The body though, when the soul was away, it shouldn’t be moved, otherwise the soul couldn’t get back inside and the body will die. There are still a lot of documents of that time, especially of inquisition trials about the ‘benandanti’ phenomenon.
Switzerland. She won’t say much, though. She keeps saying always the same things he already knows. Eventually the conversation turns sentimental and they forget the case and discuss on their private lives. They are flirting each other. Suddenly his mobile rings: it’s his colleague Ventura. Cellini has to go immediately. He is very sorry and upset, but he has to leave her alone. She goes back home, while the inspector joins his colleague. The sacristan has been killed. When Cellini arrives at the church, they are taking the body away. The rectory is topsy-turvy. The assassins were probably looking either for the money or for the drug, not for the parchments for sure. Cellini links the two homicides together and realises that the money in the Swiss account is not related with the parchments treasure, that the same money is probably the income of a kind of dirty business and that the priest was killed by the same killers, and also that the niece turns now from convicted to victim.
The inspector runs to the her place and tells her what happened and she’s terrified. He comforts her and calms her down. The suspicions over her vanish by the fact that she was together with Cellini at the restaurant when the sacristan was killed. She knows nothing. The next day the inspector meets the historian for new developments of the investigation. Cellini is fed up, though, with all the stories the historian is telling him. He warns Moretti to remove him from his task if he is not bringing precise evidence to the case. The parchments are telling about the existence of a special group of ‘Benandanti’: The Order of the Golden Lion and according to the historian, Father Guglielmo was part of it. Furthermore, the parchments treasure is not physical, but spiritual. It’s the knowledge of the secret of the Order. Probably is the way the members could separate the soul from the body whenever they want. Moretti was not able yet to discover how. The results of the autopsy are ready. The drug found in the stomach of the priest is a mixture of herbs with hallucinatory effect, but not lethal for healthy people like the priest. Therefore the death by hearth-attack was not caused by the drug itself. The priest died for natural death.
Short after the police reports that some loan-sharks were arrested, thanks to the help of a family victim of debts. Father Guglielmo was used to help some families in need of help avoiding that these were forced to contact the usurers. A group of moneylenders wanted only to scare the priest and warn him not to interfere with their business. The killing of the sacristan was only an accident. At this point the case seems solved. The parchments have nothing to do with the crimes and so does the drug. Father Guglielmo died by his own, for a sudden hearth-attack, before the loan-sharks could get him. The inspector and his colleague meet outside the hospital and think about the case. At this point the case is closed. Cellini is not totally convinced and cannot understand how a priest like Father Guglielmo drunk a drug like that, not far from home and on a train. He has to accept it, having no other evidence to prove other theories.
Arianna is at Cellini’s place. Suddenly Cellini distracts himself. He’s got an idea. The priest on the train was moving! In the writings about the ‘Benandanti’ is mentioned that if the body is moved once the soul is away, the soul cannot go back into the body again and therefore the body dies. There is also written that most of the time it looks like a natural death. Obviously in those times they couldn’t tell if the cause was an hearth-attack. He checks quickly the papers on his desk. The niece is surprised and intrigued at the same time because she is not following him in his thoughts. He doesn’t have time to explain. He is sorry, but he has to go. He steps outside. Driving towards the historian place, he thinks over his discoveries. The priest died because his soul left his body and, because he was on a train, therefore moving, the spirit couldn’t go back inside his body. Only a ‘Benandante’ or an expert on the ‘Benandanti’ could know all this. How the priest managed to separate the spirit from the body was the only thing still missing. Maybe by drinking the same drug found in his body. The inspector is also convinced that the historian is a ‘Benandante’ himself and that he knows more than it seems. The inspector hopes by questioning him, to find the evidence to his theories, especially why the priest was forced to drink the drug considering that he knew its effect.
At the house, Cellini finds the historian in a state of trance. He managed to separate his spirit from the body. Moretti sits in an armchair, his eyes closed, but affected by strange convulsions. Suddenly the historian gives a groan and opens his eyes. The spirit is back inside the body. Cellini is astonished. Moretti is very dazed and notices the inspector. Cellini has discovered everything. The inspector thinks the historian, like Father Guglielmo, decoded the parchments and found out their secret: how to separate the soul from the body. Instead that night is one of the four ‘Tempora’ where the battles between ‘Benandanti’ and witches were taking place. The historian confesses: he is not a ‘Benandante’ but a wizard (Malandante). He wanted to get hold of the parchments and find out the secret, but he was always thwarted by the Church and Father Guglielmo. Only by helping the investigations over the mysterious death of the priest, he could be able to decode the parchments.
That night Moretti got in the train to meet Father Guglielmo and kill him. He knew that the priest was conducting his personal war against the usurers and therefore the same usurers could have been accused of the murder. The priest, though, in a situation with no way out, drunk the potion, shocking the historian and making him escape. The priest thought that by drinking the potion he could easily simulate a natural death and therefore there would have been no further investigations and the parchments would have been safe. Also he could easily avoid a scandal. Cellini is impressed. Moretti didn’t kill the priest and therefore not chargeable.
Silver Remi Award for Best Foreign Film at the 35th Worldfest Houston, TX, USA in 2002.
Best Film at the 2nd fargo International Film Festival in Fargo, ND, USA in 2002.
Best Long Drama at the 2nd Thunderbird International Film Festival, Cedar City, UH, USA in 2002.
The film is the story of a theatre actor (Paolo) and the problems he encounters when his girlfriend (Celine) dreams became part of his reality. Her dreams are lived by him in such force that he can no longer distinguish them from his everyday reality. He becomes the victim of her dreams and the help that is offered by his lover - psychiatrist (Deborah) is useless.
20 minutes, Super 16mm, Color,
Wonderworks Ltd, 1997, UK,
The theatre actor Paolo is the main character in the dream of his girlfriend Celine. Meanwhile she is watching the rehearsals, through her dreaming, she manipulates his reality in such force that Paolo, really living her dreams, falls off the stage. This cause the awakening of Celine and the anger of the director Jack.
In his dressing room, the actor is thinking about the accident and Jack comes and visit him. The director warns him to be more serious during the rehearsals. He also gives him a package from a secret fan making a bit fun of the actor. Celine, worried about the intensity of her dreams, tries to talk to her lover. Paolo, instead, does not want to know and sends her home with indifference.
The same night Celine is sleeping, waiting for his phone call and at the same time Paolo enters again her dreams. On the street it rains only on him and he meets Marilyn Monroe, who drives a convertible and tries to shoot him. Scared, he goes to his lover ex- psychiatrist Deborah. Free from the danger of the dream, he spends the night with her. She comforts him and calms him down.
The next day in his dressing room, Paolo meets Jack again. The actor, a bit worried, tells his director about what happened to him the night before, getting back only an other warning for the play. Celine is sleeping in the theatre and, in her dream, Marilyn Monroe comes and visits Paolo, but this time she manages to shoot him.
Paolo faints in the dressing room and wakes up again as a puppet. He then is forced to play together with another puppet in front an audience of many Celine, watching the show with ironic enthusiasm. Afterwards Jack wakes up Celine stopping the dreaming. He cannot find Paolo anywhere.
Paolo is together with Deborah in her place. Paolo told everything to her and asks for help.
She gives him some advice and wishes to dream so deep about him.
During the dinner the day before the Premiere, Paolo is thoughtful and receives the last angry warning from Jack. Paolo and Celine are walking down the street at night and he try to investigate about her dreams, thinking that they could be related to the strange things happening to him, but without success.
They spend the night together. Celine dreams again, but this time it is a nightmare: Paolo is dead on the stage wearing his costume. When she gets back to bed, she finds out that he is not only dead in the dream, but also in the reality.
This film wants to create some thoughts on how the everyday reality, made of small and simple things, can be influenced and changed by a dream reality, created by the fantasy of the dreamer, or, like in the film, by who is dreaming us.
The idea of the film is therefore putting the two realities together, making the dreams a continuation of the real reality. In particular living as the main character and in first person the dreams of somebody else.
The main actor in the film finds himself already part of a fictional world as the theatre, where dreams come true. In real life he continues to act, but this time the director of the comedy of life is a dreamer, his fiancé, which loves him and guides him subconsciously through her fantasy in a new reality. He ends up totally confusing this drams with the real life and becomes inevitably their victim.
The choice of an actor as the main character of this film underlines the Chinese box structure of the story. Inside the everyday life, set around the theatre stage there is the dream life set around normal routine environments, such as all the exteriors, the interiors of everyone’s home, the dressing room etc.
Therefore the dreams are playing the main role in real environments, the real life instead, is shown and “mise en scene” in the fictional and magic world of the theatre stage.
The only exception is the studio of the psychiatrist-lover, which is a sort of shelter from the dreams filled with rationality, and simple and down-to-earth feelings. The content of the dreams always has something mythical and a sort of “law of retaliation”: when the actor wakes up transformed into a puppet as moved by the puppet master-dreamer who is also the audience-sub conscience.
At the end the dreamer has a nightmare. There is no happy ending showing a sometimes- pathetic interpretation of the dreams as wishes, but the film shows a more classical meaning of the dreams. These can be a different interpretation of the experiences lived in the real world, edited by the dreamer and therefore seen as a source of inspiration and parallel reality.
Best Short Film at the Premio Excelsior in Rome 1997
A traveller after loosing his path, ends up in a small cemetery. At this point his journey becomes a metaphor for his inner journey in which strange evoked figures lead him to the end.
3 minutes, 16mm, b/w,
LIFS, 1995, UK,
Writer and Director
Director of Photography
1 EXT - COUNTRYSTDE ROAD - MORNING
On a sunny and quiet morning, the calm of a countryside road is disturbed only by a little breeze. A van, driving down the road, stops just after crossing a bridge on a little canal. From the back of the van a YOUMG MAN jumps down and signals the van to leave. He is a bit worn out and looks shabby from the journey; after picking up his bag, he walks towards the bridge.
2 EXT - BRIDGE OVER A CANAL - MORNING
On the bridge the YOUNG MAN takes a map out or his bag and looks at it as he tries to keep it open against the morning breeze. With a stronger gust however, the map is swept away over the bridge. With a swift movement he tries to catch it back, but without success. He can only watch it floating away in the water below him. As if distracted by something, the YOUNG MAN raises his head and turns around. He sees TWO MUSICIANS walking along the bridge. The tallest one playing the flute and the other, the tambourine. They seem not to notice him and the only thing he can do is lean on the railing and silently observe.
3 EXT - COUNTRYSIDE ROAD - DAY
The YOUNG MAN is now strolling down a deserted street, his bag on his shoulder. He takes a cigarette out of his jacket and tries to light it, struggling with the wind. Finally, he grows angry and annoyed, he throws the cigarette away and continues down the road. Suddenly a cyclist appears behind him and passes by. The cyclist is a FISHERMAN with all his fishing gear on the bike. The YOUNG MAN tries to catch the fisherman’s attention by shaking his arms in the air and shouting... The FISHERMAN notices him and turns around cycling back towards the YOUNG MAN. He then begins to cycle in cycles around him. They remain silent as they look and observe each other intrigued. As the FISHERMAN takes his leave, the YOUNG MAN, wanting to approach him a bit more, starts following him. The FISHERMAN speeds up and the YOUNG MAN also accelerates and ends up running after the FISHERMAN. But the man on the bike is fastest and disappears as he appeared down the left hand fork of he road.
4 EXT - OUTSKIRTS OF THE CEMETERY - DAY
The YQUNG MAN stops running, tired and thirsty from the pointless race. He notices a fountain nearby, in front of a bush on the side of the road. As he drinks, he sees an old and sad cemetery hidden behind the bush. Out of pure intrigue and curiosity, he enters the cemetery and starts walking down the path, past the bush towards the nearest tombstones.
5 EXT – CEMETERY - DAY
As the YOUNG MAN passes the bush a BLACK MAN suddenly pops out from behind it surprising the YOUNG MAN who stops at the sight of this strange character. The BLACK MAN is all dressed in white and holding an apple out and inviting him to take a bite. The YOIJNG MAN pushes back the hand of the BLACK MAN in refusal. A hand suddenly catches the YOUNG MAN from behind and makes him turn around. The hand belongs to a WQMAN all dressed in black. She has now completely grabbed the YOUNG MAN and starts dancing with him even though he seems quite reluctant to dancing with her. He looses his bag as they frenetically dance all aver the cemetery between the tombstones. As they arrive to the centre of the cemetery, the WOMAN spins him around so that he falls to the ground in front of a tombstone. As the YOUNG MAN pushes himself up again he glances at the tombstone and freezes with fright and looks at the grave as though he were hypnotised. He sees his face in the tombstone as though he was gazing at Death itself straight in the eyes. Frightened by his vision, he springs to his feet, but loosing his balance, he falls to the ground again to someone else’s feet, the fisherman’s feet. The FISHERMAN is there again, looking at the YOUN MAN intensely as he smokes his pipe. The YOUNG MAN turns around as he gets up again, but only to find the WOMAN behind him, as his state of fright rises, he notices the TWO MUSICIANS playing their instruments and perched like vultures on tombstones nearby. In a near state of shock, the YOUNG MAN is frozen, he can’t move. He just stands there staring at these strange characters evolving around him. A sudden burst of courage and adrenalin makes him move and he finally escapes from the strange scene and exits the cemetery running.
6 EXT - OUTSKIRTS OF CEMETERY - DAY
As he runs out of the cemetery, the YOUNG MAN looks behind himself terrified, trips over his own bag and falls down. As he raises his head, a GIRL is standing in front of him smiling and bowing to him. The GIRL offers him a little bunch of flowers. The YOUNG MAN, still on the ground, is unable to say anything. His mouth slightly open in shock from what is happening to him, he takes the flowers as if he was enchanted by the GIRL.
7 EXT - CANAL BRIDGE - DAY
The young man’s bag is now leaning on the railings of the bridge, nothing else in sight. Everything is like in the morning and under the bridge the water flows calm and constant taking with it the little bunch of flowers.
Three parts documentary about the ancient people of the Celts.
Part I: The Kelts in Europe
Part II: The Kelts in Italy
Part III: The Kelts in Friuli Venezia Giulia
90 minutes feature documentary, different formats, color, Skené Snc., 2002, Italy.
Part I: The Kelts in Europe
From the second millennium b.C. to the first Iron Age. The origins and the settlement of the keltic culture in West-Central Europe. Interview with Professor Venceslas Kruta , director of the European Protohistory Studies at the “Sorbonne” University in Paris.
Part II: The Kelts in Italy
From the end of the Bronze Age to the Roman province of Gallia Cisalpina. The Keltic influence in Italy and the encounter between the Kelts and the Italian civilisations. Interview with Professor Daniele Vitali of Keltic history at the University of Bologna.
Part III: The Kelts in Friuli Venezia Giulia
From the Halstatt culture to the foundation of Regio X. The Keltic presence in the North-Adriatic Region and the relationship with Rome. Interview with Professor Aldo Prosdocimi of Glottology at the University of Padova. Interview with Professor Loredana Capuis of Pre-roman civilisations in Italy at the University of Padova.