Emanuele Scaringi

Emanuele Scaringi

프로필 사진

Emanuele Scaringi

참여 작품

The Armadillo's Prophecy
Director
A 27-year-old guy from a peripheral Roman suburb leads a normal but repetitive life: his conscience manifests in the form of an armadillo with whom he has conversations bordering on paradoxical during which he updates him on what's happening in the world. Based on the best-selling graphic novel.
Where the Shadows Fall
Delegated Producer
Nurse Anna and her assistant Hans work in an old folks’ home that was once the orphanage where they were imprisoned as children, and they still seem trapped in time and space.
Senza nessuna pietà
Screenplay
Mimmo is a construction worker who only wants to live in peace, but has to work as a debt collector for his uncle. Everything changes when he meets Tanya, a beautiful, street-smart girl who shares his dream.
I Can Quit Whenever I Want
Delegated Producer
A university researcher is fired because of the cuts to university. To earn a living he decides to produce drugs recruiting his former colleagues, who despite their skills are living at the margins of society.
디아즈: 이 피를 지우지 말라
Co-Writer
2001년 제노바 G8 정상회담 마지막 날 자정 직전, 300명이 넘는 경찰들이 디아즈 학교를 급습하여 블랙 블록 시위대를 찾고 있었다. 학교 안에는 90명의 활동가들이 있었으며 대게는 유럽에서 온 학생들이었고 몇 명은 해외 기자들이었으며 이들은 그날 저녁 학교 바닥에서 잠 잘 준비를 하고 있었다. 경찰이 들이닥치자 젊은 시위자들은 손을 들고 항복했다. 하지만 시위대의 항복에도 경찰들은 남녀노소 가리지 않고 무차별적인 폭행을 하기 시작하는데…
All Human Rights for All
Writer
Collective film for the 60th anniversary of the Universal Declaration of Human Rights, with 30 directors each helming a segment about one of the 30 articles of the Declaration.
All Human Rights for All
Director
Collective film for the 60th anniversary of the Universal Declaration of Human Rights, with 30 directors each helming a segment about one of the 30 articles of the Declaration.
Velocità massima
Second Assistant Director
In search of purpose, 17-year-old Claudio helps easygoing mechanic Stefano build a car capable of winning a street race that could solve his financial problems, all while going out with the latter's former girlfriend.
Pantafa
Screenplay
Marta and her daughter Nina move to Malanotte, a small mountain village. The little girl has been suffering from hypnagogic paralysis for some time, a sleep disorder which can lead to hallucinatory states, and Marta thought that a bit of mountain air and distance from the frenetic rhythm of city life might benefit the little girl. However, the house they move into is anything but welcoming, and children are never seen playing in the streets of Malanotte. Nina’s symptoms begin to worsen from the very first night in the new house, and the little girl has more and more vivid nightmares in which a ghostly figure sits on her chest, immobilises her and steals her breath. For Marta, a single mother in a place she finds increasingly sinister, it will become harder every day to know what is best for her child.
Pantafa
Writer
Marta and her daughter Nina move to Malanotte, a small mountain village. The little girl has been suffering from hypnagogic paralysis for some time, a sleep disorder which can lead to hallucinatory states, and Marta thought that a bit of mountain air and distance from the frenetic rhythm of city life might benefit the little girl. However, the house they move into is anything but welcoming, and children are never seen playing in the streets of Malanotte. Nina’s symptoms begin to worsen from the very first night in the new house, and the little girl has more and more vivid nightmares in which a ghostly figure sits on her chest, immobilises her and steals her breath. For Marta, a single mother in a place she finds increasingly sinister, it will become harder every day to know what is best for her child.
Pantafa
Director
Marta and her daughter Nina move to Malanotte, a small mountain village. The little girl has been suffering from hypnagogic paralysis for some time, a sleep disorder which can lead to hallucinatory states, and Marta thought that a bit of mountain air and distance from the frenetic rhythm of city life might benefit the little girl. However, the house they move into is anything but welcoming, and children are never seen playing in the streets of Malanotte. Nina’s symptoms begin to worsen from the very first night in the new house, and the little girl has more and more vivid nightmares in which a ghostly figure sits on her chest, immobilises her and steals her breath. For Marta, a single mother in a place she finds increasingly sinister, it will become harder every day to know what is best for her child.