Director
Ottavio Mai understood that if homosexuality isn't represented in this society dedicated to shows and the media which is slowly but surely taking over, then its representation is fundamental, it is the only sign, the only proof of existence. Therefore, he fills the void. With his films which, although poor and consciously making use of new electronic means, range from documentaries to traditional fiction, from poetic short films to experimental films, and which talk directly, without mediation, about gays, transvestites, couples, families, betrayals, battuage, and homosexual normality, touching every genre, like nobody had ever dared to do in Italy before.
Director
Reprise of the play of the same name staged by Carlo di Maio, loosely based on Thomas Migge's investigative book "Can Love Ever Be Sin?". It stages the confessions of some homosexual priests, their suffering and difficulty in living a "double" diversity.
Director
Doron Maizel is not an ordinary soldier, but a respected and esteemed colonel and doctor, who has been having a love affair over the past seven years with a handsome young man, Adir Steiner. In this way, he challenges the rules and conventions and risks compromising his own chances at a career. The army understands and tolerates a strange and contradictory relationship like this, where the being of one part of the couple the soldier walks the line between duty and passion every day. The relationship goes on until disease enters the scene.
Editor
Giò Stajano's secret to face life was and is that of never having taken himself too seriously. Already the fact of being born homosexual in a village in the deep south, in the middle of the Fascist period, and moreover in the Storace house, choosing as a mother an unsuspecting daughter of the "very virile" right arm of the Duce, and then peeing in his arms of the latter, at the tender age of one year, speaks volumes. Then in the 1950s, a young man of high hopes, he arrives in Rome and with his nonconformist lifestyle and his book Roma capitolina on "excellent" homosexuality in Rome, immediately kidnapped, becomes a "character" and is called by Fellini to interpret himself same in the film La dolce vita. Then suddenly in '81, after having been an assault journalist, having continued to write books and interpret films, tired of this role, he flies to Casablanca, and becomes Maria Gioacchina, thus confirming his innate tendency to provocation and mockery, towards life and himself.
Cinematography
Giò Stajano's secret to face life was and is that of never having taken himself too seriously. Already the fact of being born homosexual in a village in the deep south, in the middle of the Fascist period, and moreover in the Storace house, choosing as a mother an unsuspecting daughter of the "very virile" right arm of the Duce, and then peeing in his arms of the latter, at the tender age of one year, speaks volumes. Then in the 1950s, a young man of high hopes, he arrives in Rome and with his nonconformist lifestyle and his book Roma capitolina on "excellent" homosexuality in Rome, immediately kidnapped, becomes a "character" and is called by Fellini to interpret himself same in the film La dolce vita. Then suddenly in '81, after having been an assault journalist, having continued to write books and interpret films, tired of this role, he flies to Casablanca, and becomes Maria Gioacchina, thus confirming his innate tendency to provocation and mockery, towards life and himself.
Writer
Giò Stajano's secret to face life was and is that of never having taken himself too seriously. Already the fact of being born homosexual in a village in the deep south, in the middle of the Fascist period, and moreover in the Storace house, choosing as a mother an unsuspecting daughter of the "very virile" right arm of the Duce, and then peeing in his arms of the latter, at the tender age of one year, speaks volumes. Then in the 1950s, a young man of high hopes, he arrives in Rome and with his nonconformist lifestyle and his book Roma capitolina on "excellent" homosexuality in Rome, immediately kidnapped, becomes a "character" and is called by Fellini to interpret himself same in the film La dolce vita. Then suddenly in '81, after having been an assault journalist, having continued to write books and interpret films, tired of this role, he flies to Casablanca, and becomes Maria Gioacchina, thus confirming his innate tendency to provocation and mockery, towards life and himself.
Director
Giò Stajano's secret to face life was and is that of never having taken himself too seriously. Already the fact of being born homosexual in a village in the deep south, in the middle of the Fascist period, and moreover in the Storace house, choosing as a mother an unsuspecting daughter of the "very virile" right arm of the Duce, and then peeing in his arms of the latter, at the tender age of one year, speaks volumes. Then in the 1950s, a young man of high hopes, he arrives in Rome and with his nonconformist lifestyle and his book Roma capitolina on "excellent" homosexuality in Rome, immediately kidnapped, becomes a "character" and is called by Fellini to interpret himself same in the film La dolce vita. Then suddenly in '81, after having been an assault journalist, having continued to write books and interpret films, tired of this role, he flies to Casablanca, and becomes Maria Gioacchina, thus confirming his innate tendency to provocation and mockery, towards life and himself.
Director
A film about a boy, Piero, who discovers he is HIV-positive. The starting point is the meeting of two men among the thousand problems of the HIV-positive nature of one of the two; that of arrival the birth of a love that becomes solid day after day and that finds its balance between the rules, the needs and the times of the illness, challenging the conventions and establishing, under the eyes of all, a new and necessary way of living the relationship as a couple.
Director
“It is a difficult task to achieve an existential balance, and sometimes it is not necessarily possible. Sometimes, in the complex construction of our personality, the strongest component ends up prevailing, the one capable of silencing all the others. But this often leads us to suffering, to a continuous mutation of ourselves ". Andrea and Nora, two longtime friends, are working together on the drafting of a screenplay, the two characters "from the film" collide with the "real" characters.
Piero is 26 years old, works in a butcher shop, lives with his mother and sister, and has been engaged to Tiziana for years. Something is wrong in his life, his mother senses it, and their relationship is strained. One day, however, Piero meets Mirco, and his ideas begin to clarify. Helped by Mirco, Piero recognizes his homosexuality and the right to live it openly. The reactions of his mother, sister, and girlfriend vary, but none is condemning.
