Neverìn (first feature)

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Neverìn (Rosa)

Neverìn (Rosa)

original title:


directed by:


set design:

costume design:

Tanja Birmanjer


David Logan





film run:




release date:


festivals & awards:

  • NICE New italian Cinema Events Festival - Russia 2021
  • BIF&ST – Bari International Film& Festival 2019: Panorama internazionale
  • Shanghai International Film Festival 2019: Competition
  • Villerupt Italian Film Festival 2019: Compétition
  • 3K Villach 2019: in Competition Miglior Film
  • Laceno d’Oro 2019: in Competition
  • FCP - Festival del Cinema Porretta Terme 2019: in Competition
  • FSF - Festival del Cinema Sloveno 2019: in Competition - Best Screenplay
  • California Women’s Film Festival 2020: Best Feature Film, Best Actor (Boris Cavazza), Best Foreign Film
  • David di Donatello 2020: Nomination per miglior attrice protagonista (Lunetta Savino)
  • Nastri d’Argento 2020: Nomination per miglior attrice protagonista (Lunetta Savino)
  • Premio Flaiano 2020: Miglior attrice protagonista (Lunetta Savino)
  • Gallio Film Festival 2021: Premio Ermanno Olmi per il miglior film, Premio del pubblico, Premio Miglior attrice protagonista (Lunetta Savino)

Rosa and Igor live under the same roof, without trespassing on each other’s territory even though they have been living together for years. Things that happened divided them... things that came about brought them back together. Both in their sixties: she is a small, thin Italian woman, he is a hefty Slovenian.
Their daughter Maja’s sudden death was what had split them up. As an antidote to the immense suffering that had befallen them, Rosa and Igor couldn’t help but impose boundaries upon themselves. At home spaces are strictly limited, the only exception being when guests arrive, so as to give an illusion of serenity. But whenever they are alone together again balance is restored as each takes refuge in their own corner, safe from the other’s looks, thoughts and emotions. Igor spends his time on Maja’s sailing boat as if to keep alive something which doesn’t exist any longer but is difficult to let go. Rosa instead has wrapped herself up into mute grief within the walls of their home and at Maja’s grave at the cemetery, where she’s building up a chapel for her ashes.
But something happens, amazes, life often pushes us towards paths that we would never have expected, towards a newfound awareness full of love.

Through the winter colors and the wide spaces of Trieste and its hinterland I would like to tell the precariousness of the borders, the flow of life and time. Because the places are never end to themselves, they are not purely aesthetic points of view, but they tell the characters, make them live. Visual boundaries tell the emotional boundaries.
The romantic key of the movie is to tell a lifelong love story with its obscure, secret, and deep aspects. Death is also a border, but facing its dark sides leads to life.