La discoteca (the club)

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La discoteca (the club) (La discoteca)

La discoteca (the club) (La discoteca)

original title:

La discoteca

directed by:


Eva Robin's, Pietro Turano, Eugenia del Bue, Anna Amadori, Alex Paniz, Charlie Bianchetti, Kenjii Benjii


set design:

Andrea Tessarin

costume design:


Thomas Costantin





film run:



DCP - colour


Ready (10/09/2021)

festivals & awards:

  • Los Angeles - Italia 2022: Italian Panorama
  • San Francisco Independent Film Festival 2022: Short Film
  • Gender Bender International Festival 2021
  • Festival MIX Milano 2021
  • Merced Queer Film Festival 2022
  • San Giovanni Verona Video Festival 2022
  • Video Corto Nettuno 2022
  • Porn Film Festival 2022
  • Espanto Film Festival 2022

In a dystopian future (2120), an unidentified authority exercises its power by forbidding people to give free rein to their emotions and to dance. The punishment is to be turned into roses. For Ermes – whose fiancé has recently been turned into a flower – and DIDI, this is a day unlike any other: they have been invited to the disco, where a man and a woman must meet to perform a rigorous ritual designed to further the reproduction of the species. The Babilonia, the name of the disco, is inhabited by Sylvster and her queer helpers, who lay out the rules to be followed. On the dancefloor, amid their own gestures and memories, Ermes and Didi will find the way to implement a surprising and alternative transformation.

Over the course of my artistic career, La discoteca represents an evolution and a synthesis of my research into the themes of body language, identity construction, dance, community places and self-performativity. Coming to grips with the language of cinema for the first time, I found a guide in a range of cinematographic references, and I wanted to couple them with quotations from so-called “mainstream” culture, as both are part of my baggage of imagery. I also let myself be guided by the symbolism of flowers and by dreamlike and surreal visions, with the aim of proposing an open narrative in constant dialogue with the spectator. I wanted to tell of the disco not as a social venue, but as the intimate space of an experience that, albeit personal, always requires an element of sharing in order to exist. It is a journey into another dimension where night does not replace day but suspends it. In fact, you enter the disco to escape the harsh sunlight and begin a journey sectioned off into different rooms, as if they were the levels of a videogame or the corridors of a maze. It is not important where you arrive, but the transformation you undergo. While watching the film, I would like the spectators to lose control of the definitions that surround them and begin to dance, even if they simply close their eyes and imagine dancing “with whomever you want, however you want.”