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original title:


directed by:


Valeria Belardelli, Lorenzo Costa, Michela Hickocx



Girolamo Capuano

set design:

costume design:


Dr. Peacock, Optimist Apocalypse







film run:





Ready (17/07/2017)

festivals & awards:

Everything is surrounded by livid blue. The warm sun in summer's beginning appears for the first time, to accompany the awakening of a silent and immobile nature. In a wide valley, between white rocks and dark grass, naked bodies, wrecks, residues and twisted sounds make the scenario looking post apocalyptic, while it only is the result of a rave from the night before. In the woods nearby, Clara, a 24 years old girl from the roman suburbs, her lip marked by the scar of a piercing she doesn't have anymore, aching and disenchanted, with constantly swollen and sleepy eyes, walks holding the phone in one hand, when she encounters a deer. In the hope of capturing that enchanting image, she points the phone towards the animal, like a hunter takes up his shotgun. While trying to catch that image, the phone turns off, leaving behind only a doubt and a sweet memory.
A journey through a day starts now, from the woods to the suburbs. The research of a phone charger that will lead a girl to confront different characters, remarking the memory of an encounter, making it more unforgettable than before. A research that goes on through a corrupted memory.
All the work of a day, from the sunrise till dark night. And over there, summer suburbs. Dusty and unresponsive. As scorching lime.

Men's innate and constant research, spiritual or not, is what distinguishes us from any other form of life, and that is the main theme of the film, which investigates, with “an outer insight” , the aesthetic shape of reality, leading us in suburbs where the trail of the “primary” and “primitive” life of the inhabitants is evident everywhere. A film about the corruption of memory, related both to Clara's encounter with the deer and to the reconstruction of past events to find the charger, left behind because of alcohol and drugs.
The suburbs, their space, their people, their history are one of the elected territories for the existencial journey. The image of the city, even if horrific and conflicting, preserves an organic precision, building up the dreamlike and personal dimension of the main character. The architectural décor, motionless, standing between the wrecked buildings of the hamlets, the orange bricks of the public housing, everything covered in graffiti, like abandoned ruins of a lost and undefined antiquity. The suburbs become an invisible city, an urban ghost which emphasizes the urban and social stratification which seems to lack any solid element, instead everything is a game of connection and signs, of contantly replayed and relived languages. The city, a result of an exact urban and historical process, turns into a theatrical space where the drama of modernity takes place.
In the film, what is peculiar is the visual minimalism which leads on the narration, through the simple appearance of things, the world's surface and the abolition of explicative dialogues. However, the piece does not represent only an insight, but a study of the insight and a critic to the view, coming down to the negation of the probative influence of the eye testimony and so supporting the total ambiguity of what is perceivable.