#Ugo Chiti

[randomrichards]

DOG MAN (2018):

Timid dog groomer

Face Voltaire gangster

How long till he breaks

[omarfor-orchestra]

Pronostici basati su nient'altro che vibes:

Miglior film

Esterno notte, regia di Marco Bellocchio

Il signore delle formiche, regia di Gianni Amelio

La stranezza, regia di Roberto Andò

Le otto montagne, regia di Felix Van Groeningen e Charlotte Vandermeersch

Nostalgia, regia di Mario Martone

Miglior regia

Marco Bellocchio - Esterno notte

Gianni Amelio - Il signore delle formiche

Roberto Andò - La stranezza

Felix Van Groeningen e Charlotte Vandermeersch - Le otto montagne

Mario Martone - Nostalgia

Miglior regista esordiente

Carolina Cavalli - Amanda

Jasmine Trinca - Marcel!

Niccolò Falsetti - Margini

Giulia Steigerwalt - Settembre

Vincenzo Pirrotta - Spaccaossa

Migliore sceneggiatura originale

Gianni Di Gregorio e Marco Pettenello - Astolfo

Susanna Nicchiarelli - Chiara

Marco Bellocchio, Stefano Bises, Ludovica Rampoldi e Davide Serino - Esterno notte

Gianni Amelio, Edoardo Petti e Federico Fava - Il signore delle formiche

Emanuele Crialese, Francesca Manieri e Vittorio Moroni - L'immensità

Roberto Andò, Ugo Chiti e Massimo Gaudioso - La stranezza

Migliore sceneggiatura adattata

Salvatore Mereu - Bentu

Massimo Gaudioso e Kim Rossi Stuart - Brado

Francesca Archibugi, Laura Paolucci e Francesco Piccolo - Il colibrì

Felix Van Groeningen e Charlotte Vandermeersch - Le otto montagne

Mario Martone e Ippolita Di Majo - Nostalgia

Miglior produttore

Lorenzo Mieli per The Apartment e Simone Gattoni per Kavac Film - Esterno notte

Alberto Barbagallo per Bibi Film, Attilio De Razza per Tramp Limited con Medusa Film e Rai Cinema - La stranezza

Wildside, Rufus, Menuetto, Pyramide Productions, Vision Distribution in collaborazione con Elastic, con la partecipazione di Canal+ e Cine+ in collaborazione con Sky - Le otto montagne

Medusa Film, Maria Carolina Terzi, Luciano e Carlo Stella per Mad Entertainment, Roberto Sessa per Picomedia e Angelo Laudisa per Rosebud Entertainment Pictures - Nostalgia

Carla Altieri e Roberto De Paolis per Young Films e Nicola Giuliano, Francesca Cima, Carlotta Calori e Viola Prestieri per Indigo Film con Rai Cinema - Princess

Miglior attrice protagonista

Margherita Buy - Esterno notte

Penélope Cruz - L'immensità

Claudia Pandolfi - Siccità

Benedetta Porcaroli - Amanda

Barbara Ronchi - Settembre

Miglior attore protagonista

Alessandro Borghi - Le otto montagne

Ficarra e Picone - La stranezza

Fabrizio Gifuni - Esterno notte

Luigi Lo Cascio - Il signore delle formiche

Luca Marinelli - Le otto montagne

Migliore attrice non protagonista

Giovanna Mezzogiorno - Amanda

Daniela Marra - Esterno notte

Giulia Andò - La stranezza

Aurora Quattrocchi - Nostalgia

Emanuela Fanelli - Siccità

Miglior attore non protagonista

Fausto Russo Alesi - Esterno notte

Toni Servillo - Esterno notte

Elio Germano - Il signore delle formiche

Filippo Timi - Le otto montagne

Francesco Di Leva - Nostalgia

Migliore autore della fotografia

Francesco Di Giacomo - Esterno notte

Giovanni Mammolotti - I racconti della domenica - La storia di un uomo perbene

Maurizio Calvesi - La stranezza

Ruben Impens - Le otto montagne

Paolo Carnera - Nostalgia

Miglior compositore

Fabio Massimo Capogrosso - Esterno notte

Stefano Bollani - Il pataffio

Michele Braga ed Emanuele Bossi - La stranezza

Daniel Norgren - Le otto montagne

Franco Piersanti - Siccità

Migliore canzone originale

Se mi vuoi (musica, testo e interpretazione di Diodato) - Diabolik - Ginko all'attacco

Caro amore lontanissimo (musica di Sergio Endrigo, testo di Riccardo Sinigallia, interpretata da Marco Mengoni) - Il colibrì

Culi culagni (musica di Stefano Bollani, testo di Luigi Malerba e Stefano Bollani, interpretata da Stefano Bollani) - Il pataffio

La palude (musica e testo di Niccolò Falsetti, Giacomo Pieri, Alessio Ricciotti e Francesco Turbanti, interpretata da Francesco Turbanti, Emanuele Linfatti e Matteo Creatini) - Margini

Proiettili (ti mangio il cuore) (musica di Joan Thiele, Elisa Toffoli ed Emanuele Triglia, testo e interpretazione di Elodie e Joan Thiele) - Ti mangio il cuore

Miglior scenografo

Andrea Castorina, Marco Martucci e Laura Casalini - Esterno notte

Marta Maffucci e Carolina Ferrara - Il signore delle formiche

Tonino Zera, Maria Grazia Schirippa e Marco Bagnoli - L'ombra di Caravaggio

Giada Calabria e Loredana Raffi - La stranezza

Massimiliano Nocente e Marcella Galeone - Le otto montagne

Miglior costumista

Massimo Cantini Parrini - Chiara

Daria Calvelli - Esterno notte

Valentina Monticelli - Il signore delle formiche

Carlo Poggioli - L'ombra di Caravaggio

Maria Rita Barbera - La stranezza

Miglior truccatore

Federico Laurenti e Lorenzo Tamburini - Dante

Enrico Iacoponi - Esterno notte

Paola Gattabrusi e Lorenzo Tamburini - Il colibrì

Esmé Sciaroni - Il signore delle formiche

Luigi Rocchetti - L'ombra di Caravaggio

Miglior acconciatore

Alberta Giuliani - Esterno notte

Samantha Mura - Il signore delle formiche

Daniela Tartari - L'immensità

Desiree Corridoni - L'ombra di Caravaggio

Rudy Sifari - La stranezza

Miglior montatore

Francesca Calvelli con la collaborazione di Claudio Misantoni - Esterno notte

Simona Paggi - Il signore delle formiche

Esmeralda Calabria - La stranezza

Nico Leunen - Le otto montagne

Jacopo Quadri - Nostalgia

Miglior suono

Esterno notte

Il signore delle formiche

La stranezza

Le otto montagne

Nostalgia

Migliori effetti speciali visivi

Alessio Bertotti e Filippo Robino - Dampyr

Simone Silvestri e Vito Picchinenna - Diabolik - Ginko all'attacco!

Massimo Cipollina - Esterno notte

Rodolfo Migliari - Le otto montagne

Marco Geracitano - Siccità

Miglior documentario

Il cerchio, regia di Sophie Chiarello

In viaggio, regia di Gianfranco Rosi

Kill me if you can, regia di Alex Infascelli

La timidezza delle chiome, regia di Valentina Bertani

Svegliami a mezzanotte, regia di Francesco Patierno

Miglior cortometraggio

Le variabili dipendenti, regia di Lorenzo Tardella

Albertine Where Are You?, regia di Maria Guidone

Ambasciatori, regia di Francesco Romano

Il barbiere complottista, regia di Valerio Ferrara

Lo chiamavano Cargo, regia di Marco Signoretti

Miglior film internazionale

Bones and All, regia di Luca Guadagnino

Elvis, regia di Baz Luhrmann

Licorice Pizza, regia di Paul Thomas Anderson

The Fabelmans, regia di Steven Spielberg

Triangle of Sadness, regia di Ruben Östlund

David Giovani

Corro da te, regia di Riccardo Milani

Il colibrì, regia di Francesca Archibugi

L'ombra di Caravaggio, regia di Michele Placido

La stranezza, regia di Roberto Andò

Le otto montagne, regia di Felix Van Groeningen e Charlotte Vandermeersch

[colonna-durruti]

Quanto costa un genocidio?

LA LOBBY DEL FAR TACERE

"Nella puntata andata in onda ieri sera Report ha svelato il fiume di milioni spesi dalle lobby israeliane per ammorbidire il Parlamento europeo. Decine di milioni di euro, viaggi, pranzi e hotel di lusso offerti a destra e sinistra dalle lobby israeliane. Ecco perché hanno sabotato sistematicamente qualsiasi proposta anche solo di discutere del genocidio a Gaza almeno una volta in plenaria ignorando completamente le decisioni della Corte penale internazionale, della Corte Internazionale di giustizia oltre che tutte le risoluzioni dell’ONU. Corte Penale Internazionale finita, di recente, sotto l’attacco incrociato degli USA e di Israele. Una puntata che ha documentato minuziosamente come nonostante le continue stragi di civili palestinesi, a partire dagli anni 2000, il rapporto tra le istituzioni europee e il governo dello Stato ebraico è molto cambiato quando a Bruxelles hanno aperto la propria sede molti gruppi di pressione a favore di Israele che in breve tempo sono riusciti a mettere radici nel Parlamento e nella Commissione europea.

Si spiega così la posizione di sostegno incondizionato dell’Europa nei confronti di Israele anche in seguito alla pesanti e documentate accuse di genocidio contro lo stato ebraico.

Tra i parlamentari europei più attivi nei rapporti con queste lobby nel corso dell’inchiesta sono stati citati Pina Picerno e Piero Fassino, ambedue firmatari del manifesto 'Dal 7 ottobre alla Pace' pubblicato dalla “Sinistra x Israele” e sottoscritto da Giuliano Amato, Federico Argentieri, Alessio Aringoli, Francesco Argenton, Corrado AUGIAS, Franco Bassanini, Enzo Bianco, Luciano Belli Paci, Marco Bentivogli, Edmondo Brutti Liberati, Ugo Caffaz, Pierluigi Castagnetti, Stefano Ceccanti, Vannino Chiti, Francesco Clementi, Furio Colombo, Paola Concia, Lucia Corso, Silvia Costa, Gianni Cuperlo, Alessandro De Angelis, Ariel Dello Strologo, Enrico Deaglio, Fabio Della Pergola, Marcello Di Segni, Piero Fassino, Valeria Fedeli, Emanuele Fiano, Giovanni Maria Flick, Anna Foa, Stefano Folli, Giorgio Gomel, Giorgio Gori, Fiorella Kostoris, Stefano Jesurum, Linda Lanzillotta, Mario Lavia, Fabio Levi, Elena Loewenthal, Claudio Luzzatti, Claudia Mancina, Luigi MANCONI, Marianna Madia, Victor Magiar, Giacomo Marramao, Claudio Martelli, Gennaro Migliore, Marina Morpurgo, Tommaso Nannicini, Giulio Napolitano, Dario Nardella, Daniele Nahuom, Riccardo Nencini, Fabio Nicolucci, Gabriele Nissim, Simone Oggionni, Roberta Pinotti, Lia Quartapelle, Mario Raffaelli, Umberto Ranieri, Fausto Raciti, Mario Ricciardi, Andrea Romano, Michele Salvati, Ivan Scalfarotto, Filippo Sensi, Irene Tinagli, Stefano Valabrega, Francesco Verducci, Walter Verini, Luciano Violante, Flavio Zanonato, Giovanna Zincone, Nicola Zingaretti, Tobia Zevi.

Quasi tutta gente del Partito Democratico e dintorni.

Ecco come si spiega anche l'assordante silenzio di Ely Schlein e della "nuova segreteria" che non ha mai espresso una ferma condanna e denuncia del genocidio in atto a Gaza. scorza

Tramite Giovanni Tranchida Altamira"

Pier Luigi Petrucci

[postersdecinema]

A Estranha Comédia da Vida

I, 2022

Roberto Andò

7/10

Realidade Virtual

Roberto Andò e os seus cúmplices na escrita do argumento deste filme, Ugo Chiti e Massimo Gaudioso, brincam com a ousadia criativa inovadora de Luigi Pirandello (1867-1936), poeta, romancista e dramaturgo italiano, vencedor do prémio Nobel da literatura em 1934.

Pegando na sua mais famosa peça, "Seis Personagens à Procura de um Autor", inventam uma viagem do dramaturgo à Sicília, onde trava conhecimento com dois singulares personagens, agentes funerários, dramaturgos e atores amadores, que o inspiram e se tornam, eles próprios, parte do enredo e elenco da peça que emerge na sua cabeça, confundindo ficção e realidade.

Interessante, sobretudo para quem conhece a peça e a obra de Pirandello. Os outros ficarão, talvez, um pouco confusos com o enredo do filme, mas atrevo-me a dizer, que isso não deixaria de agradar aos seus autores, Pirandello e Andò...

Virtual Reality

Roberto Andò and his co-writers for this film, Ugo Chiti and Massimo Gaudioso, play with the innovative creative boldness of Luigi Pirandello (1867-1936), an Italian poet, novelist and playwright who won the Nobel Prize for Literature in 1934.

Taking his most famous play, "Six Characters in Search of an Author", they invent a trip by the playwright to Sicily, where he meets two unique characters, undertakers, playwrights and amateur actors, who inspire him and become part of the plot and cast of the play that emerges in his head, mixing fiction and reality.

Interesting, especially for those who know the play and Pirandello's work. Others may be a little confused by the film's plot, but I dare say that this would certainly please its authors, Pirandello and Andò...

[youviralart]

VINCITORI PREMI DAVID DI DONATELLO 2023

MIGLIOR FILM LE OTTO MONTAGNE REGIA DI: FELIX VAN GROENINGEN – CHARLOTTE VANDERMEERSH

MIGLIORE REGIA ESTERNO NOTTE REGIA DI: MARCO BELLOCCHIO

MIGLIOR ESORDIO ALLA REGIA SETTEMBRE – GIULIA LOUISE STEIGERWALT

MIGLIORE SCENEGGIATURA ORIGINALE LA STRANEZZA – ROBERTO ANDO’ – UGO CHITI – MASSIMO GAUDIOSO

MIGLIORE SCENEGGIATURA NON ORIGINALE LE OTTO MONTAGNE – FELIX VAN GROENINGEN – CHARLOTTE VANDERMEERSH

MIGLIORE PRODUTTORE LA STRANEZZA – ANGELO BARBAGALLO PER BIBI FILM – ATTILIO DE RAZZA PER TRAMP LIMITED – CON MEDUSA FILM E RAI CINEMA

MIGLIORE ATTRICE PROTAGONISTA SETTEMBREB – ARBARA RONCHI

MIGLIORE ATTORE PROTAGONISTA ESTERNO NOTTE – FABRIZIO GIFUNI

MIGLIORE ATTRICE NON PROTAGONISTA SICCITÀ – EMANUELA FANELLI

MIGLIORE ATTORE NON PROTAGONISTA NOSTALGIA – FRANCESCO DI LEVA

MIGLIORE AUTORE DELLA FOTOGRAFIA LE OTTO MONTAGNE – RUBEN IMPENS

MIGLIORE COMPOSITORE IL PATAFFIO – STEFANO BOLLANI

MIGLIORE CANZONE ORIGINALE TI MANGIO IL CUORE – TITOLO: PROIETTILI (TI MANGIO IL CUORE) MUSICA DI: JOAN THIELE – ELISA TOFFOLI – EMANUELE TRIGLIA TESTI DI: ELODIE – JOAN THIELE INTERPRETATA DA: ELODIE – JOAN THIELE

MIGLIORE SCENOGRAFIA LA STRANEZZA – SCENOGRAFIA: GIADA CALABRIA ARREDAMENTO: LOREDANA RAFFI

MIGLIORI COSTUMI LA STRANEZZA – MARIA RITA BARBERA

MIGLIOR TRUCCO ESTERNO NOTTE- TRUCCO: ENRICO IACOPONI

MIGLIOR ACCONCIATURA L’OMBRA DI CARAVAGGIO – DESIREE CORRIDONI

MIGLIOR MONTAGGIO ESTERNO NOTTE – FRANCESCA CALVELLI CON LA COLLABORAZIONE DI CLAUDIO MISANTONI

MIGLIORE SUONO LE OTTO MONTAGNE – PRESA DIRETTA: ALESSANDRO PALMERINI

POST-PRODUZIONE: ALESSANDRO FELETTI MIX: MARCO FALLONI

MIGLIORI EFFETTI VISIVI VFX SICCITÀ – MARCO GERACITANO

MIGLIOR DOCUMENTARIO IL CERCHIO – REGIA DI: SOPHIE CHIARELLO

MIGLIOR CORTOMETRAGGIO LE VARIABILI DIPENDENTI – REGIA DI: LORENZO TARDELLA

MIGLIOR FILM INTERNAZIONALE THE FABELMAN – SSTEVEN SPIELBERG

DAVID GIOVANI L’OMBRA DI CARAVAGGIO REGIA DI: MICHELE PLACIDO

DAVID DELLO SPETTATORE IL GRANDE GIORNO REGIA DI: MASSIMO VENIER

DAVID ALLA CARRIERA MARINA CICOGNA

DAVID SPECIALE ISABELLA ROSSELLINI ENRICO VANZINA

[watcher-in-the-woods]

Tale of Tales (Il racconto dei racconti, 2015)

Directed by Matteo Garrone Written by Matteo Garrone, Ugo Chiti, Edoardo Albinati and Massimo Gaudioso

Based on Pentamerone, written by Giambattista Basile

[diasporaslippage]

The Life Ahead is an upcoming drama film, directed by Edoardo Ponti, from a screenplay by Ponti and Ugo Chiti, based upon the novel The Life Before Us by Romain Gary. It stars Sophia Loren, Ibrahima Gueye and Abril Zamora

[assente-ism]

Notes on the interview Maurizio Lombardi gave cinefacts.it

“What matters is being part of great stories.”

Ugo Chiti taught him to act and write. He wanted to do movies just to be able to be in trailers. Trailers are the perfect summary of everything that's good in movies. He did loads of theater work. He left his company in Tuscany to look for an agency in Rome but when he was young he couldn't quite place what sort of actor he was/wanted to be. He didn't ever study acting, he kept looking for mentors by himself. He's always taken secondary roles, which are what make a great movie work.

What lacks in Italian cinema is the bravery of scriptwriters, producers and directors, because there's a huge number of great actors.

He's the only Italian actor on Riviera season 3, which he filmed when they were at Venice Film festival and he got to meet/work with Rupert Graves whose face reminds him of RDJ.

He thinks Italy has the luck to have a brave artist like Paolo Sorrentino, his talent is unbelievable, he wishes Sorrentino won't leave Italy permanently.

He loves Silvio Orlando, he liked servicing him as the butt of his jokes. He loves Javier Camara, who's crazy (affectionately), talented and unbelievably so, Jude Law and John Malkovich were great to work with as well: Malkovich is like a cat that looks very calm but then scratches you unexpectedly, Jude law is a very good actor and very very handsome.

Sorrentino likes to be in control but he also lets himself be dragged into things, at a party he saw Maurizio dance and noticed how much he was into it so he asked him to figure out a choreography for his character to “l'Orchestrina” (Maurizio is a complete actor who can also dance and sing), Assente's dance was the first one and then Sorrentino decided to make all the other characters dance.

He can't wait to go back to theater, because it's what a live concert is for rockstars, sometimes he needs to be close to the audience. Cinema is wonderful but has very long “dead” moments. He started an acting class in Florence and he's going to work on a one man show and a classic, he hasn't decided on yet. He's producing/directing a short movie called “Madonne” with 2 young actresses, it's a poetic license born from a real life experience.

Inspirations: he doesn't think he has a style as a director yet but he likes 70s new wave USA movies, Sorrentino and Nolan. A career he'd like to have is Dustin Hoffman's: in spite of his physical appearance Hoffman managed to act in every role you could imagine, Tootsie he loves particularly and Papillon.

Advice to young people who wish to work in the cinematic industry: go for it, go against anything and do whatever work you want, you might be lucky.

You just need to try. [The source is in Italian]

[mayolfederico]

tredici febbraio

Georg Schrimpf, Zwei Frauen mit Kind, 1928

  Appoggiami la testa sulla spalla: ch’io ti accarezzi con un gesto lento, come se la mia mano accompagnasse una lunga invisibile gugliata. Non sul tuo capo solo: su ogni fronte che dolga di tormento e di stanchezza scendono queste mie carezze cieche, come foglie ingiallite d’autunno in una pozza che riflette il cielo.

(Antonia Pozzi)

  §

[mantaypeli]

Dogman

La Europa de las dos velocidades está perfectamente representada en los medios por el retrato social de los estragos de una crisis que asuela al viejo continente durante la última década. Entre los restos de ese naufragio personal y moral flotan a la deriva los personajes que pueblan Dogman, de Matteo Garrone. Ambientada en el barrio de Villagio Coppola (Caserta), cerca de Nápoles, la película…

[superangrycollection]

Manuale d'amore (2005)

by Giovanni Veronesi Romance / Comedia / Drama 116 mn - Italy

[persinsala]

Sorelle Materassi Sorelle Materassi, dal romanzo di Aldo Palazzeschi: uno spettacolo tutto al femminile - o quasi - in scena al Teatro Duse di Bologna.

[livornopress]

Al Teatro Goldoni per la stagione di prosa va in scena Lisistata

Livorno 10 gennaio 2023 Il primo spettacolo della Stagione di Prosa del nuovo anno, in scena mercoledì 11 gennaio alle ore 21, sarà il divertente Lisistrata di Aristofane, nel libero adattamento di Ugo Chiti con Amanda Sandrelli. Lisistrata ci guarda dal lontano 411 a.C., anno del suo debutto nel teatro di Dioniso ai piedi dell’Acropoli di Atene, e scuote la testa sconsolata di fronte…

[luciamosca14]

Sabato a Sulmona L’Avaro di Chiti con uno straordinario Benvenuti

Sabato a Sulmona L’Avaro di Chiti con uno straordinario Benvenuti

Tutto pronto al Teatro Maria Caniglia di Sulmona per il prossimo appuntamento della Stagione di Prosa 2018/19 nata dalla collaborazione tra ACS Abruzzo e Molise Circuito Spettacolo e l’Amministrazione Comunale,  sabato 16 febbraio alle ore 21 con “L’Avaro” un classico di Molière adattato e diretto da Ugo Chiti e prodotto dalla compagnia Arca Azzurra Teatro.

In scena un grande Alessandro Benvenuti

[materiali-sonori]

#materialiInScena2022

[alencar07-blog]

ALFA ROMEO

ALFA ROMEO is a brand that has enchanted, and continues to dazzle, many around the world. There are characteristics that have always been part of a global collective image of the brand: its "cuore sportivo" (as the Italians would say) or sports heart (for us Brazilians), indomitable vitality, the sound of the engine, the elegance of the shapes and the design purely Italian. Stories tell that Henry Ford used to take off his hat every time he saw an ALFA ROMEO pass, and that on the day that won the Italian team, Enzo Ferrari cried like a baby. The brand spanned more than a century of a mythical saga and many of its memorable pages contributed to the history of cars and glories on the tracks.

The story The company originated in 1906 when Cavaliere Ugo Stella, an aristocrat from Milan, and Alexandre Darracq, a French car manufacturer, founded the company "Societá Italiana Automobili Darracq", which started producing cars under the Darracq brand in the city of Naples. With the end of the partnership in 1910, Stella, with funding from other Italian investors, moved the production line to a disused factory in Portello, an industrial suburb in the northwestern region of Milan, changing on June 24 the name of the company for ALFA, abbreviation for Anonima Lombarda Fabbrica Automobili. The first car produced entirely by the new automaker was the 24 HP model, named after the power generated by its engine (4-cylinder engine and top speed of 100 km per hour) and designed by Giuseppe Merosi. With three hundred units produced, the model presented modern characteristics for the time, including monobloc motor and single joint transmission, distinguishing itself by the excellent recovery and carefully constructed mechanical parts. Subsequently, Merosi participated in the development of new ALFA cars, with more powerful engines, from 40 to 60 HP. ALFA also ventured into auto racing with Nino Franchini taking part in the 1911 Targa Florio riding a 24 HP model.

In 1915, under severe financial problems, the Neapolitan engineer Nicola Romeo assumed his leadership, changed his name to ALFA ROMEO and turned it into a war factory to meet the needs of Italy and its allies during the First World War. Ammunition, engines and parts for airplanes, generators and compressors based on engines of cars previously produced and even locomotives were manufactured by the company during the time that the world conflict lasted. With the end of the war, Nicola Romeo definitively assumed full control of the company and car manufacturing resumed in a timid manner in 1919. The following year, the Torpedo 20-20HP was the first car manufactured under the new brand ALFA ROMEO. Giuseppe Merosi continued as chief designer and the company continued to manufacture good street cars and successful race cars (among which the 40-60 HP and RG Targa Florio models stood out). Still in 1920, Enzo Ferrari joined ALFA ROMEO and with a 40-60HP car, immediately won a glorious second place in the Targa Florio race.

In 1923, then ALFA ROMEO team rider Enzo Ferrari convinced designer Vittorio Jano to leave FIAT and replace Giuseppe Merosi in the team's design team. The first model conceived under Jano's supervision was the P2 Grand Prix, which gave the Italian team the world title of 1925. For street cars, Jano developed a series of small and medium 4, 6 and 8-cylinder in-line engines based in the P2 engine that established ALFA ROMEO's classic engine architecture: lightweight alloy construction, hemispherical combustion chambers, central plugs, two in-line valves per cylinder and dual combustion chamber. Such an architecture proved to be durable and powerful.

In 1928, the financial turmoil of the time and the specific and small market of the manufacturer caused that Nicola Romeo was removed of the company, that ended up being bought by a consortium of banks. In 1933 the ALFA ROMEO underwent an intervention of the Italian fascist government, that came to take control of the company. At this moment the company, now a state-owned company, abandoned the competitions, and then the Scuderia Ferrari, initially as the arm of ALFA ROMEO competitions (Enzo Ferrari drove to ALFA before assuming the leadership of the team, and soon thereafter started to produce their own cars). It was Enzo's team that humiliated the German teams (Auto-Union and Mercedes-Benz), winning sensationally the German Grand Prix in 1935. At that time the rivalry went well beyond the tracks, and the government-controlled ALFA ROMEO of Benito Mussolini, had to rival and prove superior than the German Nazis. With the government in charge, the automaker began mass production serving the interests and ambitions of fascism. World War II created another serious crisis for the Italian automaker, destroying much of its facilities and virtually paralyzing the production of vehicles.

The company had to restart almost from scratch and with Italy quite destroyed, it decided to remodel its production, reducing the manufacture of luxury cars, and dedicating itself to the mass production of popular cars. But it also set a new standard: in addition to production cars, it started manufacturing limited editions or exclusive models created by famous designers. In 1947, the automaker began to launch new models that had the most modern aerodynamic concepts of the time. One such model was the sporty Freccia D'Oro (Golden Arrow, in Portuguese). ALFA ROMEO, who had always made high performance and sports cars, had to adapt to the new European situation and launched the 1900 model in 1950, designed by Orazio Satta and powered by 4 cylinders. This new car was able to serve a very demanding clientele, like the middle class, and at the same time it was very economical and beautiful. It quickly became known as "The family car that wins races". It was the dividing line between artisanal production and mass production.

In this decade, the success of the carmaker on the tracks can be translated into the achievements of the Formula 1 championships with Nino Farina in 1950, who won by riding an ALFA ROMEO 158 with compressor; and in 1951, with Juan Manuel Fangio riding an Alfetta 159 (an evolution of the 158 model with a two-stage compressor). Despite the success in the competitions, the automaker was experiencing financial difficulties and to continue to compete in Formula 1, there would be a need to build a new car, since the current ones had reached the maximum of its evolution. In this context, ALFA ROMEO has withdrawn from the tracks. This decade was also marked by the success of the 1900 model, which, thanks to exceptional mechanical characteristics and remarkable performance, became the official motor vehicle of the Italian Police, being nicknamed Pantera due to aggressive black paint. Another success of this period was the first automobile with proper name and feminine: GIULIETTA. Presented to the public in 1954 in Coupé Sprint version, its main attributes were compact dimensions, agility and good performance. With these successes, came the Alfamania, which made the desire to have an ALFA ROMEO irresistible, infecting the stars of Hollywood.

The 1960s began with the construction of a new factory in Arese, which would be inaugurated three years later in 1963. The first car produced was Giulia, which sold more than one million units in its various versions. In 1963 Autodelta was created, under the direction of Carlo Chiti, responsible for the development of race cars based on the car models of production or development of new models. These were important years for ALFA ROMEO, who consolidated both its image and its commercial position. In this decade the ALFA ROMEO became famous for its small cars and models designed especially for the Italian police (Pantere and Carabinieri), among them the glorious Giulia Super, or the 2600 Sprint GT, that received the expressive nickname of "Inseguimento" ( for being confused with the automobile used by the famous police officer, and unequaled driver, Armandino Spadafora in pursuit of thieves by a ladder in 1960). In 1967 the famous film "The First Night of a Man", starring Dustin Hoffman gave celebrity status to the Alfa Romeo Spider (also known by its Italian designations "Duetto" or "Osso di Seppia").

In the 1970s the ALFA ROMEO again went into financial crisis. The government then privatized the automaker. Despite this, the automaker created cars that became icons, such as MONTREAL, which signaled the return of the 8-cylinder engine to passenger cars, and offered sports performance and technical and mechanical characteristics adapted to day-to-day use; and the ALFETTA 2000 TD (1979), the first Italian Turbo Diesel. The 1980s were marked by the decline in ALFA ROMEO's sports participation. Even though he continued to participate in Formula 1, he became a lackluster team in the competition, contrary to his past achievements. Even so, he remained in the top motoring category until the end of the 1985 season. And then (until 1987) as an engine supplier.

At this time, in 1986, the ALFA ROMEO was acquired by FIAT, in a maneuver to avoid that the American Ford bought what was considered an Italian legacy. A new business group was created - Alfa Lancia S.p.A. - which has since dedicated itself to the manufacture of ALFA ROMEO and LANCIA cars. Before being bought by FIAT, ALFA ROMEO always maintained a daring stance in the market, trying new solutions in the tracks and using them in the series production, even with the risk of commercial losses. ALFA ROMEO has always been characterized by the controversial and unorthodox style, which for many times has raised discussions about style. Under the control of FIAT, the following year, one of the automaker's most successful models was introduced: the ALFA 164 was officially presented at the Frankfurt Motor Show, with its design project signed by the renowned Pininfarina studio, giving the car a distinct visual, and at the same time aggressive and powerful. The model achieved the feat of becoming a success also in the American market.

In 1994 the line was completed with the launch of the 164 Quadrifoglio 4, which combined the 3.0 V6 24v engine with a sophisticated four-wheel drive system with electronic traction control and a 6-speed gearbox. The new millennium begins with a record sales in 2001, when ALFA ROMEO sold 213,638 units worldwide. In January 2003, the automaker introduced the campaign "Beauty is not enough", a concept between the lines of the brand's new commercial strategy, and expressed in the importance of substance beyond form. After all, ALFA ROMEO had always been synonymous with style and elegance, but also with technical innovation. In the following years the automaker introduced a line of bold and modern vehicles such as the GT sports car, the BRERA coupe, the SPYDER convertible, the sedan 159, the exclusive 8C COMPETIZIONE sports car and more recently the compact MiTo sports car.

In 2010 the mythical brand, true Italian pride, whose technology and sportsmanship were the main factors for its success, completed 100 years. And to celebrate its centenary, ALFA ROMEO organized in Milan, a northern Italian city where everything began, several events: round the track of the Monza race track, visits to the Alfa Romeo Historical Museum (reopened temporarily), exhibition of old models in several places of the economic capital of Italy and a big parade on the streets of the city with thousands of lovers of the brand. Even with the celebration and the new releases, the brand's sales in the following years continued in sharp decline.

The turnaround seems to have begun in 2015, when ALFA ROMEO completed 105 years of a rich heritage. The commemorative date included an exciting show by tenor Andrea Bocelli, reopening of the company's museum in Milan and presentation of a completely new car designed to mark its rebirth. Its name is already known by fans of the brand: Giulia (same name of a successful sport of the years of 1960 and 1970). In addition, ALFA ROMEO has drawn up a restructuring plan that has a definite goal until 2018: to face equal, Audi, Mercedes-Benz and BMW in the segment of luxury sports. This re-launching of the brand, as it was called, cost approximately € 5 billion and involves large markets such as the United States, China and, of course, Brazil (where the brand should be relaunched in the near future), as well as reconquering Europe. The Italian automaker intends, in this period, to launch eight new car models. Nowadays there are five elements that have made ALFA ROMEO one of the most coveted car brands in the world: differentiated Italian design, state-of-the-art technology and innovative engines, perfect 50/50 weight distribution, exclusive technical solutions and the best weight ratio power. These are the indispensable ingredients for the creation of an authentic ALFA ROMEO.