Latina: marshes, reclaimed land, disused nuclear power plants, moisture. Massimo Sisti is the proprietor of a dental surgery that bears his name. Professional, courteous and calm, he has attained everything he could have desired: a villa in a peaceful setting and a family he loves and that keeps him company as the days, the months, the years go past. His wife Alessandra and daughters Laura and Ilenia (the former a teenager, the latter not yet) are his raison d’être, his happiness, the reward for a life rooted in self-sacrifice and honesty. Then the unforeseen bursts into this imperturbable and calm springtime: on a day like any other Massimo goes down to the cellar and the absurd takes possession of his life.

DIRECTORS’ NOTES:
We chose to tell this story because, simply, it was the one we found most disturbing. As human beings, as storytellers, as viewers. A story that raised questions for us to which we had (and still do not have, even after finishing the film) no answers that did not contradict each other. Making us question ourselves is the most valuable mission that cinema can permit itself and America Latina takes this possibility literally, presenting us with a man forced to reconsider his own identity. Being twins, our two previous films also told stories of families, of a feeling of belonging, of kinship, but we had never gone so deeply into the subject and we chose to take the riskiest path for us: kindness. Kindness and all its extreme consequences. America Latina is a film on light and we have chosen the privileged viewpoint of darkness from which to observe it.