Fabrizio Ferraro

While hunting a cultured and vicious psychopath, detective Amaldi faces the physical and moral decay of his city as well as the ghosts of his past.

The mystery of entire districts of the metropolis that are emptied of human presence. A disturbing new order that investigates and represses. The lives of three women intertwine in an ambiguous game of escapes and captures, in which the roles of victim and executioner are exchanged to the point of confusion.

In February 1939, the paths of those fleeing Francoist Spain on one side and the advancing Nazis on the other crossed along the Pyrenees. Anarchists and socialists, Jews and partisans, in an exodus with no safe destination. Among them Walter Benjamin, one of the greatest European intellectuals of the 20th century.

Tommaso meets Stefania. They like each other, they fall in love, they get married. A child is also born. It all started very well, it evolved well, then discreetly, little by little until the crisis. It seemed impossible, yet the love, which seemed really solid, perhaps fell apart, even turning into hatred. Who knows if there is still time to do so. Volo, ex Jena, tries to be a real actor. An appeal test is required.

In QUANDO DAL CIELO, Italian filmmaker Fabrizio Ferraro rises to the challenge of filming music, or rather filming musicians in the midst of the creative act to reinforce the idea that the dimension of listening is active.

For Filmmaker Film Festival (2023), Fulvio Baglivi and Cristina Piccino asked some filmmakers (R. Beckermann, J. Bressane, D’Anolfi/Parenti, T. De Bernardi, L. Di Costanzo, A. Fasulo, F. Ferraro, M. Frammartino, S. George, ghezzi/Gagliardo, C. Hintermann, G. Maderna, A. Momo, A. Rossetto, M. Santini, C. Simon, S. Savona) to give us their own "lost road," that is, a sequence, scene or piece of editing that did not later find its way into the final version of one of their works. Each fragment has its own accomplished presence, often has a different title from the film it was made for, which is not necessary to have seen in order to find meaning; on the contrary, those who set out thinking they know the world they are walking through will find themselves displaced.

A hundred years of images researched and found, Fragments of film, family reels, pixels. A martyr saint, a warrior. Saint Efisio, an icon who moves the people. A holiday, a rite which repeats outside of time and brings with it the masks of dominations past and present, of an island; Sardinia. What escapes? What remains? Question and answer is the foundation of editing And renews the past in another past. In this encounter of deferred glances, the holy day is renewed again in memory and in dream, far from known places.

This is the diary which the French philosopher Simone Weil kept when, as a twenty-five-year-old, she took a one-year sabbatical from school and her studies and worked in a Parisian factory from December 4, 1934 until August 1935, running the presses at the Alsthom electric company. This experience formed the basis for her book La condition ouvrière. The written chronicle of her days is visually accompanied by a continuous flow of dark rooms and the urban landscape of Île Seguin (suburbs south of Paris), paying particular attention to construction sites and factories.

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Central Apennines, 1944. The snowy landscape witnesses the escape of four hunted partisans. As they wander through the blizzard in search of a shelter, they meet a young girl.

Mr. Emmer is a jaded Film Director, Catarina the assistant of an absent Producer. Together they embark on a journey in search of Hölderlin's places, for a never forgotten project on the German poet. But during the journey their aspirations will prove to be an obstacle for the realisation of any work. A love song for a suffering Nature.

An elderly film director visits Berlin for a screening of his latest film, starting a physical and mental journey along the remnants of the wall that split the city for almost 30 years.

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Fabrizio Ferraro’s homage to Saint Sebastian, subject of three paintings by the Italian early Renaissance master Andrea Mantegna, starts in the present day with colorful images of tourists in the ancient ruins of the Palatino and the Foro Romano in Rome. Suddenly we are transported to another dimension, now in black and white, the same place but another time, suggesting the film’s inherent circularity.

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No description available.

A group of visionaries decide to take a baroque a statue of Christ where it was planned to be by its sculptor, Francesco Mochi. During the trip, Christ breaks the four-hundred years silence and speaks to John the Baptist.

A man and a young woman meet by chance in Paris and a relationship begins between them. The empty space of a bare apartment welcomes the fleeting encounters of these two strangers. The backdrop is the enveloping and rarefied city, the stage of their liaison and at the same time the protagonist of the film. The city with its urban structure codifies the watershed between the social classes and allows us to glimpse its balances and rules. The encounters, the bare dialogues between the protagonists, give voice to a paradigmatic distance of a society that is s/finite and without redemption, surrendered to the dominant values ​​that the protagonist, in the end, questions in an attempt to arrive at a new reformulation.

Whoever crosses the threshold of a mental health institution immediately finds themselves on a different planet. In PIANO SUL PIANETA, Fabrizio Ferraro’s superb black-and-white images create a dystopian tale, suspended in time but hugely restricted in space.