#Cinecittà World

[nemyzilla]

least demonic italian:

[fallevs]

So! I spent New Year's Eve at Cinecittà World (an amusement park in Rome dedicated to cinema) and went to the One Direction/Glee event. Needless to say, for One Direction there were so many of us, we sang our hearts out, as if we had known each other forever, and... like it wasn't already 8 years that the band broke up... okay enough or I'll cry.

Then Glee night began. Basically nothing much, definitely the ticket price was not worth the evening because in short, it was nothing more than a screen on which clips of the show were passed, but that's okay!!!!!! I had a great time!!! For some of the songs there was this little dance troupe and I must say they were great! I show you the Born This Way performance because I loved that they wore T-shirts like theirs.

[caglica]

Take Vale X3

she looks so dead inside help-

[haveyoubeenonthisrollercoaster]

[atomheartmagazine]

Nuovo post su Atom Heart Magazine

Nuovo post pubblicato su https://www.atomheartmagazine.com/capodanno-a-roma-cinecitta-world-gue-pequeno-achille-lauro/

Capodanno a Roma: a Cinecittà World il più grande d'Italia con Achille Lauro, Guè Pequeno e Pago

Cinecittà World, il celebre Parco tematico del Cinema e della TV, sta organizzando il Capodanno più grande e divertente d’Italia a Roma, con un’offerta straordinaria di 40 attrazioni, 8 cenoni a tema e cene spettacolo, discoteche e dj set, spettacoli dal vivo, concerti live, grandi artisti e guest star. Questo evento eccezionale avrà luogo il 31 dicembre e inizierà alle 18, proponendo un’esperienza coinvolgente fino alle 6 del mattino.

Capodanno a Roma: l’offerta del Cinecittà World

L’eclettica offerta del Cinecittà World per la notte di Capodanno a Roma comprende 40 attrazioni, 8 cenoni a tema e cene spettacolo, discoteche e DJ set, spettacoli dal vivo, concerti live, grandi artisti e guest star. Il biglietto, al costo di 40 euro, include tutto l’intrattenimento offerto.

Il Parco si presenta come la scelta ideale per famiglie, ragazzi e bambini, offrendo 17 attrazioni al coperto e 30 attrazioni adatte ai più piccoli. Tra gli spettacoli del Capodanno romano spicca in particolare “Christmas on Ice“, uno straordinario show di pattinaggio sul ghiaccio con oltre 50 performer e pattinatori internazionali ed olimpici.

Capodanno a Roma: Achille Lauro e Guè Pequeno

Per gli amanti della musica, Cinecittà World propone una varietà di opzioni per la serata di Capodanno a Roma. Tra cui il concerto dal vivo di Achille Lauro, la Fiesta Latina con ritmi latino-americani, la serata “The Time Machine of 90’s-2000” con successi dance degli anni ’90 e 2000, e la serata Techno e House “Undermoon” con DJ del calibro di Nic Fanciulli, Sasha Carassi ed Ethan Heich. In aggiunta, sarà possibile scegliere lo Special party reggaeton, hip-hop, R’n’B, con Guè Pequeno e il suo live dj set.

Cinecittà Street e il Capodanno Revival

Per chi desidera festeggiare in piazza, Cinecittà Street offre il Capodanno Revival con DJ, karaoke e animazione. Inoltre, Pago, noto cantante e personaggio televisivo, si esibirà in un one-man live show di due ore, omaggiando i grandi successi italiani con la chitarra.

Cinecittà World si conferma come la destinazione perfetta per un Capodanno indimenticabile a Roma. Offrendo un’ampia varietà di esperienze per accontentare tutti i gusti musicali e le età. Con fuochi d’artificio, spettacoli live, e una vasta gamma di intrattenimento, il Parco promette quindi di farvi iniziare il nuovo anno con gioia e divertimento.

Dove acquistare i biglietti

Per vedere il programma completo e acquistare il biglietto per la grande festa di Capodanno a Roma CLICCA QUI.

Cerca altri Concerti ed Eventi.

[justforbooks]

In 1962, Federico Fellini placed advertisements in Italian newspapers seeking a woman to play the lead character’s mistress in his next film, which would eventually be titled 8½ and released the following year. The successful candidate, he wrote, should be “somewhat old-fashioned … with a pink-and-white complexion and a small pea-hen’s head on a Rubens body, very soft, flowery, maternal and opulent”.

The director auditioned as many as 5,000 applicants. “An interminable procession of ladies who had deserted their worried husbands and children came forward,” reported the writer Angelo Solmi in 1967. It was rumoured that the whole endeavour was merely a publicity stunt and that all along the role had been earmarked for��Sandra Milo.

Milo, who has died aged 90, was a vivacious presence marketed as “the Italian Judy Holliday”. She and Fellini had met on a summer evening in the coastal town of Fregene; she happened to be passing a cafe where he was seated with his screenwriter, Ennio Flaiano, who knew Milo and called her over to introduce them.

Fellini was determined to coax Milo out of her unofficial retirement for the role in 8½ of Carla, mistress of the film-maker Guido (Marcello Mastroianni), who installs her in a nearby hotel while he is preparing his science-fiction epic.

When Fellini offered her the part, she reminded him she had quit the business, following savage reviews for her performance as an aristocrat’s daughter in Vanina Vanini (1961).

However the next morning, she was woken at home by the arrival of the director, his cinematographer and assorted technicians and make-up assistants, who had come to shoot a screen test. “They took me and put that famous little hat on my head,” she said, alluding to Carla’s fluffy white ushanka.

She was dressed in a black redingote festooned with violets; all at once, the lights were on her. “My God, what a thrill,” she recalled. “I felt like that was my world, and those were my people. I felt like I was flying.”

She signed the contract, agreeing to gain weight for the role. Shortly afterwards, she fell pregnant, though Fellini kept her chained to the trough all the same. “Every time Federico sees me off the set he tells me to go eat something,” she complained at the time. “I feel like a Strasbourg goose.”

When she finally emerged on set in costume at Cinecittà, Fellini and Mastroianni told her: “Welcome back. You’re home.”

To the ravishing dreamscape of 8½, which won two Oscars and is widely considered Fellini’s masterpiece, she brought an earthy vitality and rambunctiousness, as well as her unassailable beauty.

Fellini cast her again in his first colour film, Juliet of the Spirits (1965), this time in a tripartite role opposite his wife, Giulietta Masina, as the dissatisfied title character. Milo played Suzy, a hedonistic neighbour who hosts orgies, wears feather boas and plunging necklines, and cavorts in a treetop house where a slide connects her bed directly to a swimming pool. Milo is also seen as Iris, a spirit, and Fanny, a circus ingenue.

He sought to cast her a third time in the autobiographical Amarcord (1973), and even shot a screen test with her. But her husband, increasingly jealous of Fellini, forbade her from accepting. Milo’s declinature, the director said, left him with “an air of melancholy”. He told her: “I have something of a feeling we won’t see each other any more.”

In 1982, she published Caro Federico, a thinly veiled account of her time as the director’s lover. Fellini’s biographer John Baxter described it as “largely imagined”, and even Milo admitted eventually that it had been mostly a work of fiction. Fellini claimed never to have read the book. “I don’t even want to smell it,” he said.

Milo was born in Tunis, and moved with her family to Tuscany during her early childhood. At the age of 15, she wed Cesare Rodighiero, but the marriage was annulled after 21 days. She found early work as a model in Milan and began acting after moving to Rome, making her film debut in the comedy The Bachelor (1955).

Roberto Rossellini helped launch her career with General della Rovere (1959), which starred Vittorio de Sica as a Genoese con-man recruited by the Nazis, but Vanina Vanini was a notorious flop.

Fellini films apart, she gave her finest performance in Claude Sautet’s Classes Tous Risques (1960), in which she played an actor who becomes caught up with a gangster on the run. The film got lost in the shuffle at the time of its release, its elegant classicism upstaged by the more radical and irreverent Breathless, which had opened shortly before, though Sautet’s picture is recognised now as an exemplary policier.

Milo gave up acting for a second time in the early 1970s. Despite returning to the screen at the end of that decade, she was known latterly more for her appearances in gossip columns and on television as a presenter, talkshow guest or reality-show participant.

Reflecting on her time as Fellini’s muse, she confessed it had not always been easy. “Sometimes he’d make me feel indispensable, marvellous, as if I were the only woman he’d ever loved. And then he’d treat me like a nothing, a nobody.” She maintained that she loved him “truly, madly, deeply, stupidly”.

She is survived by three children: Debora, from her relationship with Moris Ergas, who produced films of hers including Generale della Rovere and La Visita (1963); Ciro and Azzurra, from her marriage to Ottavio De Lollis; and by a grandson. She was also briefly married to Jorge Ordoñez in 1990. All her marriages ended in divorce.

🔔 Sandra Milo (Salvatrice Elena Greco), actor, born 11 March 1933; died 29 January 2024

Daily inspiration. Discover more photos at Just for Books…?

[denimbex1986]

'Almost 35 years ago, production designer David Gropman worked on a Merchant Ivory World War II-era drama called “Mr. & Mrs. Bridge,” in which the opening sequence was in black and white. He still remembers watching dailies to that sequence and hearing director James Ivory exclaim, “What have I been waiting for all these years? It works so much better in black and white!”

“He was right,” Gropman said, laughing. “And I have longed to do a black-and-white film since then.” He finally got his wish with “Ripley,” Steven Zaillian’s Netflix limited series based on the Patricia Highsmith novel “The Talented Mr. Ripley” — although Gropman estimates that the eight-episode, seven-hour series was really “about five films” in scale and complexity.

The action begins in New York in the early 1960s and then moves to Italy’s Amalfi Coast, where a petty criminal named Tom Ripley (Andrew Scott) has been tasked with persuading rich would-be artist Dickie Greenleaf (Johnny Flynn) to return home, though Tom really just wants to share in Dickie’s lifestyle. From there, it moves among lush Italian seaside towns, lavish hotels in Rome, Palermo and Venice and other outposts of magnificence, all shot in luxuriant monochrome by cinematographer Robert Elswit.

“I’ve always been taken with how powerful images are in black and white, how everything else is erased except for the subject matter,” Gropman said. “I’ve spent most of my career trying to erase the design in my work. For years and years, that meant being very careful with color — not necessarily monochrome, but really tightly controlled palettes. So the natural evolution was to do a black-and-white film.”

He and Zaillian began by trading black-and-white photographs so that the film’s visual language could be established before location scouting began. Gropman said finding a New York City street that could pass for 1960 was particularly difficult. “I had recently done a film in New York called ‘The Humans,’” he said. “It took place in one stage, basically, with a little bit of contemporary New York, Lower East Side. But going back to scout for ‘Ripley’ not even a year later, and trying to find period New York felt almost impossible, really.”

Once he found a street that would work for New York, he and Zaillian went to Italy to find locations that suited the idle rich who Ripley so desperately wanted to join. The Amalfi coast town of Atrani – augmented by Dickie’s house, which was actually filmed on Capri – had the right look and the right amount of stone stairs for Tom to climb as he tries to ascend to Dickie’s level. “The steps are so spectacular there,” Gropman said. “MC Escher spent time there and did any number of drawings and woodcuts of stairs, so it was perfect.”

But “Ripley” features many more steps than just the ones in Atrani. One entire episode takes place largely in a Rome apartment building where Ripley is living and where he has to dispose of a body by dragging it down several flights of stairs because an old, creaky elevator isn’t working.

“The Rome apartment was quite key,” Gropman said. “Not only did we need a great flight of stairs, we needed a period cage elevator. And finding that combination was very, very difficult. Many of these old apartments are converted palazzi, but of course, anything actually from the 16th, 17th, 18th centuries did not have elevators. So we had to find a palazzo that had an addition with that wonderful flight of stairs and cage elevator.”

Many of the interiors, including all of Tom’s apartment, were constructed on Stage 5 at Rome’s Cinecittà Studios, known as “The Fellini stage” because it was where the Italian icon made many of his films. “Everything from the hallway to the fantastic bathroom and his room looking out on the street was built at Cinecittà,” he said. “We had two stages that sat back to back with a green screen right down the center separating them.”

Train stations and ferry docks were another challenge, with CGI to get the correct period look. “The ferry docks were not real ferry docs, the train stations were not train stations,” he said. “So that relied a lot of CGI set extensions.”

Everything was built in color, including reproductions of Caravaggio and Picasso paintings. And while certain colors have long been thought to not work well when shot in black and white, Gropman said he ignored the conventional wisdom.

“There were rules in the time of black-and-white filmmaking for how to use green or orange to get more contrast or more of a gray tone,” he said. “I guess I should have paid attention to those, but I didn’t because we’re in a digital world and I could manipulate it and push it to give it the look we hoped to attain. I didn’t pay attention to any of those rules, but I think we did OK.”

And because of the level of detail in Zaillian’s work, Gropman said he never felt in over his head despite the scale of the project. “As I was doing the breakdown, of course I was a little bit overwhelmed,” he said. “In the old days, I might’ve had a panic attack. But there wasn’t a single set or a single moment in the scripts that I didn’t want to do. It was all joy.”'

[sin-ophelia]

Italian Cinema

Two Women 1960

(Sophia Loren won an Academy Award for her role as a single mother trying to protect her daughter from the horrors of war in WWII)

Rome, Open City 1945

(neorealist war drama film directed by Roberto Rossellini written by Fellini starring Anna Magnani)

Down with Misery 1945

(Anna Magnani stars as a Roman housewife post-WWII pressuring her husband to join the black Mamarket to pull them out of poverty

Before Him All Rome Trembled  1945

(Anna Magnani and her partner are a pair of opera singers, who moonlight working for the Italian resistance at the time of the German occupation of Rome. Stylistically, the film is a hybrid between filmed performances of opera, and a neorealistic resistance melodrama)

Angelina 1947

Anna Magnani picture, in the public domain

L'Amore 1948

(anthology film directed by Roberto Rossellini starring Anna Magnani and Federico Fellini. It consists of two parts, The Human Voice based on Jean Cocteau's 1929 play of the same title, and The Miracle, based on Ramón del Valle-Inclán's 1904 novel Flor de santidad. The second part was banned in the United States until it was cleared in 1952 by the Supreme Court's decision upholding the right to freedom of speech.)

The Street Has Many Dreams 1948

(Comedy Starring Anna Magnani)

Volcano 1950

(Anna Magnani's revenge film against Roberto Rossellini who was filming Stromboli with Ingrid Bergman on a nearby island at the time. The film plot involves a former prostitute, Maddalena Natoli (played by Magnani), who was exiled to the island of her birth by the police. There, she suffers ostracism by the islanders, and she tries to defend the virtue of her younger sister from the advances of a deep-sea diver. )

Stromboli 1950

(Drama directed by Roberto Rossellini starring Ingrid Bergman considered a classic example of Italian neorealism. Immigrant Lithuanian woman gets isolated in an abusive relationship with a man on a secluded island where locals shun her)

The Golden Coach 1952

(Starring Anna Magnani tells the story of a commedia dell'arte troupe in 18th-century Peru)

The Rose Tattoo  1955 

(Starring Anna Magnani based off a Tennessee Williams play)

The Awakening 1956

(Comedy drama starring Anna Magnoni as a nun in a Convent in Naples)

Nella città l'inferno 1959

(When the wide-eyed Lina (Giulietta Masina) lands in a women's prison, she meets a world-weary prostitute named Egle (Anna Magnani) who looks out for her. After Egle teaches Lina what she knows and begins to harden the girl, Lina commits another crime on the outside and winds up back in jail, a shell of her former self. Egle, meanwhile, who had taken a genuine liking to Lina, has tried to better herself and is shocked to see what has become of her former protégé)

The Passionate Thief 1960

(Comedy Two friends (Toto and Magnani) live by their wits working as comedians and cabaret at Cinecittà, before being invited to friends' parties or masked balls during New Year's Eve in Rome. The two, however, even though they make people laugh all the time in public, live an inner conflict, namely that the two have always to be aware to give a smile to someone, but they can never be rich and happy because they are street artists and with a precarious wage.)

Mamma Roma 1962

(Anna Magnani play a single mother retired prostitute trying to build a better life for her teenage son)

Made in Italy 1965

(Comedy anthology with Anna Magnani)

Two Nights with Cleopatra 1954

(Comedy Starring Sophia Loren playing two roles in Prince and Pauper Cleopatra tale)

Aida 1953

(Sophia Loren stars as Aida adapted by the opera by Giuseppe Verdi set in ancient Egypt)

A Slice of Life 1954

(Anthology comedy with Sophia Loren in one of the episodes)

A Day in Court 1954

(Anthology courtroom drama comedy, Sophia Loren is in one of the episodes)

Poverty and Nobility 1954

(Adapted from 19th century play of the same name, with Sophia Loren)

The Gold of Naples 1954

(Anthology drama one episode features Sophia Loren)

The Sign of Venus 1955

(Comedy revolves around an attractive woman named Agnese (Sophia Loren) who has many suitors. She lives with her cousin Cesira, who has the opposite problem with men- a poet in need of money and a man who deals in stolen cars)

Bianco, rosso e... (The Sin) 1972

(Comedy Starring Sophia Loren as a sexy nun?)

[massimosirelli]

Concetto Spaziale - 2018 (Assemblage mixed media, collezione privata) • Ciao sono Concetto, Il Robot Spaziale. Sangue partenopeo e animo interplanetare. Nonostante sia in grado di volare con la fantasia resto ben piantato alla terra mia. I miei stivali profumano di buono e di casa… nulla a che vedere con quelli della Nasa. Tutti mi dicono che sono un pò in “chiàtt”… ma ciò nonostante sono sempre medaglia d’oro in tutto quel che faccio. Da buon napoletano ho ganci a destra e manca e manco farlo apposta ho buon’amici pure in posta! Mi piace l’arte e davanti ad un bel quadro mi emoziono da drizzar l’antenna. Cerco una famiglia buona come amme... per condividere con loro affetto ed affettati! La mia citazione preferita: “Vedi Napoli e poi la Luna” Segni particolari: Saturazione vulcanica. Data di nascita: Aprile 2018 Le origini di Concetto: Il corpo con cui è realizzato Concetto Spaziale è una latta di idropittura dell’azienda di vernici Linvea, che ha contribuito nella realizzazione della mostra personale di Massimo Sirelli, Teneri Bulloni, al Museo Marca di Catanzaro nell’estate 2018. Le braccia arrivano da una porta di un ufficio postale dismesso. La testa è una grossa insalatiera di acciaio. Gli occhi provengono da un vecchio luna park dismesso a Cinecittà World. Il naso era un vecchio tappa/stappa bottiglie che come i piedi erano parti di due vecchie Moka provenienti dalla cucina della Mamma di Massimo, la Sig.ra Rosa che ha ceduto tanti oggetti di casa per dar vita a molti dei Robot che Massimo ha prodotto in questi anni. E tu hai qualcosa che vorresti donare per far nascere nuovi Robot? • #massimosirelli #adottaunrobot #linvea #linveavernici #sirelli #sirelliart #sirelliartist #sirellirobot #sirellipop #popart #pop #contemporaryart #art #sculptures #robot #robotsculptures #recycledrobot #upcycling #massimosirelliartist #massimosirelliart #love #napoli #lunapark #calabria #museomarca (presso Napoli) https://www.instagram.com/p/CpW6IQAtQ7u/?igshid=NGJjMDIxMWI=

[nemyzilla]

Altair how tf Is Ur hair so pretty?

spring hair supremacy

[fallevs]

A theme park in Rome posted this ad. I swear I would scream but it's 9:30 at night here and I CAN'T. Shit. One Direction and Glee? They want me fucking dead. Oh my God, I want to go so much!!! Now I know what I could do on New Year's Eve, hehe

[caglica]

Me and @altonaxel real

[haveyoubeenonthisrollercoaster]

Altair at Cinecittà World pls 👀

[atomheartmagazine]

Nuovo post su Atom Heart Magazine

Nuovo post pubblicato su https://www.atomheartmagazine.com/capodanno-a-roma-cinecitta-world-gue-pequeno-achille-lauro/

Capodanno a Roma: a Cinecittà World il più grande d'Italia con Achille Lauro, Guè Pequeno e Pago

Cinecittà World, il celebre Parco tematico del Cinema e della TV, sta organizzando il Capodanno più grande e divertente d’Italia a Roma, con un’offerta straordinaria di 40 attrazioni, 8 cenoni a tema e cene spettacolo, discoteche e dj set, spettacoli dal vivo, concerti live, grandi artisti e guest star. Questo evento eccezionale avrà luogo il 31 dicembre e inizierà alle 18, proponendo un’esperienza coinvolgente fino alle 6 del mattino.

Capodanno a Roma: l’offerta del Cinecittà World

L’eclettica offerta del Cinecittà World per la notte di Capodanno a Roma comprende 40 attrazioni, 8 cenoni a tema e cene spettacolo, discoteche e DJ set, spettacoli dal vivo, concerti live, grandi artisti e guest star. Il biglietto, al costo di 40 euro, include tutto l’intrattenimento offerto.

Il Parco si presenta come la scelta ideale per famiglie, ragazzi e bambini, offrendo 17 attrazioni al coperto e 30 attrazioni adatte ai più piccoli. Tra gli spettacoli del Capodanno romano spicca in particolare “Christmas on Ice“, uno straordinario show di pattinaggio sul ghiaccio con oltre 50 performer e pattinatori internazionali ed olimpici.

Capodanno a Roma: Achille Lauro e Guè Pequeno

Per gli amanti della musica, Cinecittà World propone una varietà di opzioni per la serata di Capodanno a Roma. Tra cui il concerto dal vivo di Achille Lauro, la Fiesta Latina con ritmi latino-americani, la serata “The Time Machine of 90’s-2000” con successi dance degli anni ’90 e 2000, e la serata Techno e House “Undermoon” con DJ del calibro di Nic Fanciulli, Sasha Carassi ed Ethan Heich. In aggiunta, sarà possibile scegliere lo Special party reggaeton, hip-hop, R’n’B, con Guè Pequeno e il suo live dj set.

Cinecittà Street e il Capodanno Revival

Per chi desidera festeggiare in piazza, Cinecittà Street offre il Capodanno Revival con DJ, karaoke e animazione. Inoltre, Pago, noto cantante e personaggio televisivo, si esibirà in un one-man live show di due ore, omaggiando i grandi successi italiani con la chitarra.

Cinecittà World si conferma come la destinazione perfetta per un Capodanno indimenticabile a Roma. Offrendo un’ampia varietà di esperienze per accontentare tutti i gusti musicali e le età. Con fuochi d’artificio, spettacoli live, e una vasta gamma di intrattenimento, il Parco promette quindi di farvi iniziare il nuovo anno con gioia e divertimento.

Dove acquistare i biglietti

Per vedere il programma completo e acquistare il biglietto per la grande festa di Capodanno a Roma CLICCA QUI.

Cerca altri Concerti ed Eventi.

[oragentleman]

Vespa Τhe most famous scouter in the World www.oragentleman.com #vespa #vespaclassic #vespalovers #vespamania #vespasuper #vespagts #vespamodern #vespaworld #vespaholic #vespaholiday #vespalife #vespahobby #vespalove #vespaitaly #vacanzearoma #cinecittà #cinecittaworld #romeitaly #roma #espreso #pizza #negronilover #negroni #negronitime #piaggiovespa #sprezzatura #italialife #bellomondo #mina #italianculture (στην τοποθεσία Roma) https://www.instagram.com/p/ClF6Bw2MoIW/?igshid=NGJjMDIxMWI=

[emilianoscatarzi]

Gian Paolo Barbieri. The man and the beauty AUDIENCE AWARD WINNER @biografilm World premiere November 1st 2022 @ Cinema ARIOSTO Milano The life of Gian Paolo Barbieri, from his beginnings in Rome, through Cinecittà and Paris to his consecration. With his photographs, Barbieri defined the most important decades of Italian fashion, and created modern fashion photography by bringing the model out of the backdrop and into reality. Many big names in high fashion have paid tribute to him. Always inspired by life, Barbieri brings back the cultural references of art, theater and cinema from which he took sap, light, dimension. Although afflicted by an incurable disease, today Barbieri continues his creative journey, even more inspired. A portrait of a man moved by passion, with endless photo stills of unparalleled artistic value. Produced by Moovie @mooviemag Irina Galli @irinagalli and Caterina Teoldi Written by Federica Masin @fedemasin and Emiliano Scatarzi @e_______z In collaboration with Fondazione Gian Paolo Barbieri @fondazionegianpaolobarbieri Sponsored by Leica Camera Italia @leica_camera_italia Supported by Centro di ricerca Gianfranco Ferré @centroricerca.gianfrancoferre and 29 ARTS IN PROGRESS gallery @29artsinprogress Directed by Emiliano Scatarzi @e_______z DOP Emiliano Scatarzi @e_______z and Federico Teoldi @fedeteoldi Assistant director Luca Cepparo @luca_cepparo Editing Sara Ronchi Music by: Cesare Picco @cesarepicco Massimiliano Fraticelli @massimiliano.fraticelli Nicola Guiducci @nicolaguiducci Soap & Skin @anja.f.plaschg #ezstudio #gianpaolobarbieri #documentary #biografilm2022 #leicacamera #cinema #biopic #filmfestival #featurefilm #fondazionegianpaolobarbieri #cinemalumière #fondazioneferrè #cinemaariosto #anteo #spaziocinemaanteo #spaziocinema #ariosto #ariostocinema #29artsinprogress #audienceaward #audienceawardwinner #monicabellucci #dolcegabbana (presso Cinema Ariosto) https://www.instagram.com/p/Ckxyu41oIkk/?igshid=NGJjMDIxMWI=