#digitalreview The hand of God (La Mano di Dio) di Paolo Sorrentino "MOZZARELLA TIME"

#78thVeniceInternationalFilmFestival #quiridoio #raicinema
Simona Cochi reviewing Qui rido io
The King of Laughter
{ a film by Mario Martone }
INDIGO FILM and RAI CINEMA
with
TONI SERVILLO
MARIA NAZIONALE, CRISTIANA DELL’ANNA, ANTONIA TRUPPO, EDUARDO SCARPETTA ROBERTO DE FRANCESCO, LINO MUSELLA, PAOLO PIEROBON
with GIANFELICE IMPARATO and starring IAIA FORTE
an Italian and Spanish co-production produced by
INDIGO FILM with RAI CINEMA
in co-production with TORNASOL
At the beginning of the twentieth century, in the Naples of the Belle Époque, theaters and cinemas are on the rise. The great comedian Eduardo Scarpetta is the box-office king. Suc- cess made him a very rich man: from his humble origins, he established himself on the scene with his comedies and the mask and character of Felice Sciosciammocca, who managed to replace Pulcinella in the hearts of the Neapolitan audiences. The theater is his life, and his complex family core gravitates around the theater, with wives, companions, lovers, legitimate and illegitimate children including Titina, Eduardo and Pep- pino De Filippo. At the height of his success, Scarpetta allows himself what will prove to be a dangerous gamble. He deci- des to parody the play “The Daughter of Iorio”, a tragedy by the greatest Italian poet of the time, Gabriele D’Annunzio. On opening night, all hell breaks loose: the play is interrupted by screams, whistles and insults from the poets and playwrights of the new generation who cry out scandal, and Scarpetta ends up being sued for plagiarism by D’Annunzio himself. And so the first historic copyright lawsuit in Italy begins. The years of the trial will be exhausting for him and his whole fa- mily, so much so that the delicate balance that held it together seems on the verge of dissolving. Everything in Scarpetta’s life seems to be going in pieces, but with a great actor’s performance he’ll manage to challenge a fate that wanted him a loser, and he’ll win his last game.
"The Italian Way" Youtube Channel (My Camera .....my Paintbrush) is an iconic video magazine created by Simona Cochi, an Italian journalist and pr based in Milan.
Simona unveils the exclusive features of the most relevant events about Art, Lifestyle, Design, Fashion, and more. Art interviews are one of the keys to be seduced by "The Italian Way" project.
The creative gesture of "direct capture" (the camera like a brush) blends different and transversal elements and draws on the visual heritage, the digital, the sound in a field with still unexplored possibilities but which has the characteristics of a 21st-century Surrealism.
This editorial project has been conceived on Simona return after a year and a half of work and research in different European capital cities and iconic outposts.
Simona Cochi can claim international working experiences and an academic track record.
2017 - Simona Cochi starts her digital video magazine to adapt communication and journalism techniques to the new challenge of the 2.0 era.
In 2018, during her experience as a video blogger in Vienna's museums, her definitive inspiration for surrealism was ignited through the work on the Man Ray's show at the Kunstforum. Further creativity and motivation have been enhanced thanks to the researches on Sigmund Freud, the other eminent Austrian's figure with significative traces of his life and works in Vienna.
The video journey started as "The Austrian Way" inside the magnificent art shows in the capital city: Monet, Picasso, Gustav Klimt, Keith Hearing, Florentina Pakosta, and more.
The digital producer's aim is to "paint" the path of the art exhibitions with her camera, revealing an unprecedented vision, delivering new interpretative nuances of daily reality.
The images and comments of the Italian journalist are expressed to describe the emotions of art but also to portray the magnificent outposts of culture. Simona Cochi's footages are often accompanied by iconic interviews from the event's protagonist.
The beauty of a work resides in its visionary strength, in its celebratory capacity, in the alienating effect it arouses and this is what the spontaneity of the author often manages to convey.
The creative gesture of "direct capture" (the camera like a brush) blends different and transversal elements and draws on the visual heritage, the digital, the sound in a field with still unexplored possibilities but which has the characteristics of a 21st-century Surrealism.