Gianni, a nightwatchman from Milan, comes home and finds unexpectedly Sandro, an old friend who just came out of prison after eight years of detention, waiting for him on the stairs. Sandro offers him to recover some money that he had hidden before getting arrested, in exchange of a considerable figure. Unfortunately something goes wrong. After giving him the established figure, Sandro asks about Antonio, once their partner in crime, and suggest to pay him a visit. They find him at the restaurant with Helene, Sandro’s old flame, who has become Antonio’s wife and the disagreements begin immediately to surface. As a matter of fact, Sandro accuses his brother to be the responsible of his arrest; they will later find out that Antonio is even involved in the child trafficking.
After having denounced him, Gianni accompanies Sandro to the train station but, when they’re about to say goodbye, they find out that one of the children was hiding in the trunk of their car. Suddenly Gianni and Sandro find themselves in front of a situation that they would have never expected, having to take care of a foundling boy named Komir.
Having undertaken a long tour to Albania, Sandro and Gianni get caught up in the innocence of the little Komir, becoming even attached to him.

DIRECTOR’SNOTES:
The film shows from the very first image the world in which the two criminal protagonists lived. The noir tones create atmospheres where characters on the edge seek a way out to escape their reality. The camera in hand closely follows the characters in order to grasp better the emotions and moods of characters. Moreover, the sudden arrival of Komir implies brighter shots, characterised by a sense of openness, as opposed to the different grey and cramped atmospheres of the first part.
The noir tones in the second part are more dampening, and the "road movie" athmosphere will reveal choral, funny and goliardic moments.
In my opinion, the style of ‘‘Suddenly Komir’’ is almost " neorealist " with the involvement of non-professional actors as well, recruited through the method of " street casting " . The impression of the realistic style of the direction is perceived in the streets of the urban setting of Milan, then in the flourishing and wild location of Basilicata. This region offers a wide range of settings for shooting, its cinematographic potential is tangible; I wanted to offer an insight into my native birthplace because it seemed the perfect location for my first film.
Moreover, the strategy chosen for the funding of the film has a connection with the mindset of our production companies: the low-budget and the financial resources have been retrieved in a various ways, with the collaboration of everybody that believed in our project.