Fabrique du Cinéma presents ShorTS


The 12th July at the Ex Dogana will see a short film marathon promoted by the Fabrique du Cinèma

On Wednesday 12th July the Fabrique du Cinéma is bringing the ShorTS International Film Festival to the Ex Dogana Cinema, in Rome, the event that each year acknowledges and presents to Trieste the best short films from around the world, dedicating an evening to the works of the winners of the 18th season, that finished just a few days ago.

The film review Salotto Cinema, proposed for the Roman Summer from the freepress magazine dedicated to new  Italian cinema, is expecting a marathon of short films tomorrow, six in all, a mix of Italian and foreign, that will be projected from 9pm:  MEJE by Damjan Kozole (EstEnergy Award for the best short film), Kaboom by Romain Daudet Jahan (Makinarium Award for the best animation and visual effects), Djinn Tonic by Domenico Guidetti (Studio Universal Award for the best Italian short) A Girl Like You by Gianluca Mangiasciutti and Massimo Loi (Oltre il Muro Award for the best Italian short), Candie Boy by Arianna Del Grosso (Trieste Caffè Award for the best short as voted for by the public) Lo Steinway by Massimo Ottoni (AMC Award for best Italian editing).

Framing the new Salotto di Cinema evening is as always the Condominio San Lorenzo, the new co-living and sociality experiment promoted by Ex-Dogana. A place open every day with free entry that includes a 3000 square metre terraced courtyard, a cocktail bar, a cinema room, an exhibition room, a library and games area, with billiards, ping pong and table games.

ShorTS 2017 All the winners



The EstEnergy award for best short film goes to

Meje by Damjan Kozole for the capacity to create a contemporary drama that touches millions of people, and re-establishes scope in an extraordinary synthesis that above all invests in in mis-en-scene.

The Makinarium Award for the best animation and visual effects goes to Kaboom by Romain Daudet Jahan.

For the explosiveness of the idea and the incredible visual and chromatic impact of the images. For its capacity to transport the viewer into an artificial, yet familiar, ironic and playful micro-world.

The Studio Universal Award for the best Italian short goes to Djinn Tonic by Domenico Guidetti for its capacity to concentrate into one interior setting and in just a few minutes, a comic visionary story full of twists that, thanks to the cleverness of the interpretation, we see the socially dramatic reality of youth unemployment.    

The Premiere Film Award for the un-distributed short is assigned ex aequo to both Samedi Cinema by Mamadou Dia and Siyah Çember by Hasan Can Dağlı.



A story of desire and friendship. The film is a passionate journey in which, thanks to education, the two young protagonists find a way to win the chance to make their dream come true. But it is in this moment that their relationship is put to the test when one of them will have to choose between making his dream come true alone or sharing in disappointment. A profound story which has already been acknowledged at the last Mostra del Cinema in Venice and in Toronto, Prem1ere Film will be proud to distribute this all around Italy.



Can the beauty of the human body be used and transformed into something terrible? The short film Siyah Çember seems to pose this question through a chilling and masterfully directed story. The splendid location and the cold colours that remind many of a thriller/horror masterpiece such as Hostel di Eli Roth, makes it a brief film that would merit being developed into a feature length film. Prem1ere Film has transformed a short film into a long film in the past and we wish Siyah Çember luck in following in the footsteps of that project (Ice Scream, ndr).

The Oltre il Muro Award for the best Italian short film goes to A Girl Like You by Gianluca Mangiasciutti and Massimo Loi for a captivating screenplay, that confronts the theme of loneliness, of the growth and the fear of a teenager in the search for her freedom, through balanced dialogue, suspended places on the verge between the real and the mystical, and a recitation of the two protagonists.

The Trieste Caffè Award to the best short voted for by the public goes to Candie Boy by Arianna Del Grosso.

The Premio AMC to the best Italian editing goes to Lo Steinway by Massimo Ottoni by Massimo Ottoni. Animation is often a courageous choice, particularly in this case where it is used to recount the harsh and concrete reality of the trenches. But when it is made in such a clever way, like Lo Steinway, it can thrill and cause one to reflect at the same time. Judging the editing of an animated film is not always easy, but here Centoducti and Ottini’s profound knowledge of the cinematic language is evident.

They manage the materials as if it were a film with real actors: skilfully describing the space and the relationships between the two armies using long shots and camera movements; transmitting the conflicting emotions of the soldiers in their very first plans and transporting the viewer into a dreamlike state using musical sequences.  

Finally the combining of the two different techniques, stop motion and animated design, is masterful and without a continuous solution. Reinstating, in an evocative manner the separation of the main characters’ ‘real’ from their imaginary and contributing to making this short film even more individual within its genre.

The Mercurius Prize for the best Junghian themed short was assigned to Death in a Day by Lin Wang for her great human sensibility and psychological intuition, also for her high cinematic courage.

Death in a Day presents the deceptive power of the cinematic story. The film is full of fresh and surprising images and the editing produces anticipation, ambiguity and mystery. In this way, Death in a Day uses processes of psychological reflection and intuition thanks to which many of us are able to respond to what is on the screen. We don’t react to stimuli, but we find catapults on the interior of the scene along with the characters. We are made responsible for the fact that there is always something more than we can see, both in time and space. The director Lin Wang seems to have a natural sensibility for the choice of places, context and of the ‘crucial moments’ that change lives forever. In this way Death in a Day invites us to delve into a hermetic vision.

The antique Greek god Hermes (Mercury to the Romans) was the ferryman of souls towards the underworld, the guide through the profound dimensions of life. In this way like the boy was guided by nature, by the flowing river and the vision of his father (on the trajectory between life and death), the viewer is guided into a dimension where the opposites of life and death are reconciled in a moment of epiphany. For this special take achieved in a short film, we have awarded Death in a Day with our first ever Mercurius Prize.



The Hera Comm Award for the best film has been jointly awarded to Orecchie by Alessandro Aronadio for its courage in abating a popular cinematic genre like comedy with a personal and innovative look that launches a challenge to new horizons. It has also been awarded to Babylonia Mon Amour by Pierpaolo Verdecchi for the exploration that opens the horizons of documentarian language and for its approach in recounting the real with a filtered look into authorship.


The Bakel Award for the best film as voted for by the public goes to Babylonia Mon Amour by Pierpaolo Verdecchi.


The ANAC Award for the best screenplay goes to Luca Infascelli, Carlo Salsa, Greta Scicchitano and Roberto De Paolis writers of the film Cuori Puri directed by Roberto De Paolis for developing, with the base of a true story, a cinematic story built up with characters, social conflicts and individual passions that they subtract to the banalization of the dominant televised narrative and maintain a realistic trend that never panders to predictable and discounted fictional schemes, particularly those referring to urban peripheries.    

The AGICI Award for the best production of an animated feature film goes to Costanza Coldagelli and the Matrioska production for Orecchie by Alessandro Aronadio. A generational dramedy told using an innovative language displaying the Italian panorama that confronts our principal genres- comedy- in no way discounted, bringing life to a little metropolitan cult. The production pointed to young talents such as the director and principal actors, intelligently supporting them with artistic cast members and experienced technicians. A production that can also be distinguished for a streamlined and independent financial construction, but in solid settings thanks to Biennale College Cinema.


The AGICI Award for the best documentarian feature film production goes to Daniele Ietri Pitton and the La Fournaise production for Sagre Balere by Alessandro Stevanon. The production involved 6 film Commissions and Regional funds in the support of this project that displays a rarely recounted aspect of culture, but one that is important and transversal in a society that forgets its convivial roots, music, food…. A manifesto of an ‘Italian life’ that after having conquered the national public has all the cards to reach out to an international public.


The SNCCI Award for the best film voted for by the jury of the Sindacato Nazionale Critici Cinematografici goes to Upwelling La Risalita delle Acque Profonde by Silvia Jop and Pietro Pasquetti for the originality of the vital and utopian look, on social life and politics, through a clever way of recounting the big and little resistances on thought and dominant acts. This is all thanks to the central role of the editing and sound used as creative practices. A film that is over whelming in its complex and affectionate testimony.


The SweeTS4Kids Award for the best short goes to Einstein-Rosen by Olga Osorio.


This year the Prospettiva Award goes to Daphne Scoccia for her magnificent interpretation in Fiore by Claudio Giovannesi; for her adhesion to the character, the maudit charisma and the scenic presence demonstrated right from the start in this debut into the world of film.

The Conferma Award goes to Claudio Giovannesi, for his knowledge of the authorial scene demonstrating his artistic talent, but also having signalled a fundamental trend reversal on the Italian cinematic scene. The special mention from the Migrarti project goes to “Le Afriche Della Nostre Pianure”, acknowledgements withdrawn by Alberto Cicala and Paolo Luigi De Cesare.


Board Diary – Day 07


When a festival finds its way onto your busy schedule, the risk is missing something, very often little luminous stars which we then regret not to have let shine. The outdoor temperature is deadly, there isn’t even that sweet breeze from the sea to save us from this attack of heat.

An afternoon dedicated to an in depth analysis in these times of intrinsic un-attention.


The panel, UNA BUONA DOSE DI FOLLIA (CINEMA E ALTRI RIMEDI), on the stage of the Teatro Miela is full circle of speakers coordinated by the notable journalist Rula Jebreal; a touching occasion of reflection and confrontation making us proud of the film L’ACCADEMIA DELLA FOLLIA by Anush Hamzehian, a non-banal vision that would be great when extended to as many viewers as possible.


Over here signs of rain have chosen the worst moment to pierce through the heat and phosphorescent elixir, but the artistic helm stays strong and steady in the hands of the organizers, and so we have Cinema!

After the usual greeting and vote of thanks, the projections take place in Piazza Verdi, despite the many coloured umbrellas.


Friendships between men and animals from those who used to admire naturalistic pioneers such as Jack London.. AKITA by the British Cummings and Hickman duo is short with some surprises, from surreal tastes, marked by a largely realistic press photograph.


So here we are to contemplate a gallery of characters requiring the work of an optician; in the suggestive animation SORE EYES FOR INFINITY by Elli Vuorinen captures, with sympathetic imagination, the attention of the little ones in the crowd, notably the most important judges.


What goes on behind our backs? For endless seconds the screen presents a green and motionless flatland, but a moment on and an interminable army of refugees and migrants emerge into our presence….


Succeeded by the beautiful and significant short Slovenian film MEJE by Damjan Kozole. 

We don’t merely learn about discoveries of visually nominal platforms from the Discovery Channel, especially on the theme of animals; LOVE by Rèka Bucsi is a curious and entertaining split animation where lots of little phosphorescent eyed animals and funny crows tell us about their feelings. 

I see Naples and I see death, said the poet, and this city is certainly an infinite resource, especially when it comes to that strange intrinsic mysticism of superstition that is only a drink consumable in the Vomero or Bettole valleys, just a stone’s throw away from the sea.

PARUSIA NAPOLETANA by Rosa Maietta is a feminine view on superstition, and those ‘sopra maradona’ effigies reminding us of an exultant season of times past.


Something ancestral exists, like a strange pagan and peasant celebration, between the dark images of the film ASCENSÃO by Pedro Peralta: in their raw pride they present something of the best cinema of Buñuel.


With the easiest fruition comes the animated remake of Little Red Riding Hood, by Ario Aaffarzadegan, an anti-conformist hand to interpret a universally popular fable.


There isn’t always the need to have a flesh and bone character to create a story, as proved by the film maker Mir Ezwan with his short film RM10.


In this case wandering through what is most likely an oriental metropolis, glittering with nocturnal signs, is nothing less than a bank note; this indispensable object of daily life begins its journey with a woman paying for food, next ending up in the hands of a mother and her child, and under the constant neon lights of a wasteful civilization, eventually returns to its original detainer.


Can one laugh in the face of old age, or at least propose a less conventional reading of it?

COLOMBI by our very own Luca Ferri doesn’t refer to well known simpletons but to a couple of old spouses who show us good deeds, glories, resignations and illness.

Articulated by a female narrative voice, is the 20 minute long story which in black and white, recalls the provocations of the Ciprì and Maresco couple in certain brutal instances.

The Italian writer instead puts his camera between prison bars, to tell the story of painful solitude and waiting that quietly renounces speech, his message is clear and unequivocal.

Applause erupts from the heart of the crowd.


From a marionette style yet un-dusted world comes the little protagonist of the short Slovenian film SLOVO by Leon Vidmar.

There is also a nice grandfather, reminiscent of Geppetto from Pinocchio, and a little allegorical event of Ithacan and Aquatic humour. 


An intoxicating conclusion, like drinking a Mohito – one with well chopped leaves- comes the feline circus act in METUBE2- AUGUST SINGS CARMINA BURANA by Daniel Moshel, that transports an entire European piazza to a high-tech disco…. Simply priceless.


As our great little responsible of SWEET 4 KIDS Tommaso Gregori leaves for Boston (Bon Voyage!), our English intern Victoria Ellison watches the screen and is a discrete and sweet presence.

They are two great friends of our festival, who we will without doubt enumerate in the next and final Board Diary.


See you on Saturday at the Castello di San Giusto, for the long awaited award ceremony.


                                                                                                                                                                                                                                                                                                                            Riccardo Visintin

Programme Friday 7th July 2017

At ShorTS on the morning of Friday 7th July Pivio will hold his musical masterclass, Suonare Il Cinema, entry is only permitted to those who have signed up. The lessons will take place at the Mediateca in via Roma. The press will be available upon request.

At 9pm we will set off from Piazza Verdi on the first of our cinematic walks: an evening outing  taking us to the rive, Molo, historical caffe’s and streets: The Trieste of directors at night time, a journey along the sea and around the city discovering how the cinema of yesterday and today has recounted the obscurities and the stories of Triestine nights. Booking is compulsory. You can book by calling +39 339 4535962 or by emailing esternogiornots@gmail.com

From 9 30pm, as always in Piazza Verdi the projections of the Maremettraggio section will begin:

Akita by Alastair Cummings, John Hickman (GB, 2016, 9’). A down on his luck labourer finds a friend in a seemingly abandoned dog.

Sore Eyes for Infinity by Elli Vuorinen (FIN, 2016, 12’). An optician’s workday is filled up by a line of extraordinary customers. One by one, she witnesses them using the optical equipment in suspicious ways.

Meje by Damjan Kozole (SLO, 2016, 10’). A nice day in a nice landscape. A crowd of refugees and migrants accompanied by police officers make their way from the Shengen area between Slovenia and Croatia toward the refugee camp in Brežice.

Love by Réka Bucsi (H–F, 2016, 14’). Love is a short film illustrating affection in three separate parts, through an impact in a distant solar system. The pulsing planet helps the inhabitants to connect in various ways.

Parusia napoletana by Rosa Maietta (I, 2016, 10’). Parusia, from the greek parousía, means ‘presence’ and generally indicates the presence of the divine, or of the ideal essence in a materialistic world. What could possibly happen in Naples in the Spagnoli quarters on the one day Naples plays.

Ascensão by Pedro Peralta (P, 2016, 18’). At dawn a group of peasants tries to rescue the body of a young man from a well.

Red by Ario Aaffarzadegan (IR, 2015, 2’). An alternative short story about Little Red Riding Hood.

RM10 by Emir Ezwan (MAL, 2015, 12’). The nocturnal adventures of a bank note.

Colombi by Luca Ferri (I, 2016, 20’). A couple in love spend a century together, as trends, objects, and films slowly drift into horror. They will age with the exclusion of the outside world, darkening and shutting up their house and withdrawing into them-selves, leafing through old encyclopaedias.

Semiliberi by Matteo Gentiloni (I, 2015, 10’). Alessandra is a loner, she doesn’t connect with anybody. One day she realizes that a plan thought up by female cell mates to succumb to house arrests could be just the opportunity she needs to escape from her loneliness.

Slovo by Leon Vidmar (SLO, 2016, 6’). Lovro sits in his bathtub. Looking sad, he stares at droplets dripping from the tap. Suddenly, the day he first went fishing with his grandpa springs his imagination into life….

Metube 2 – August sings Carmina Burana by Daniel Moshel (A, 2016, 5’). Elfie and her nerdy son August successfully proved themselves on their home webcam in MeTube 1. The odd pair venture onto the street to present the biggest, boldest, and sexiest operatic flash mob the internet has ever seen!

At 5pm at the Teatro Miela the projection and round table for the Mercurius Prize will take place: on the big screen we will see SPIRITS OF THE ROCKS by Peter Ammann (CH, 2002, 78’), a film which is very special to the Junghian society: The Bushmen lead us to the Spirits of the Rocks, rocks that conjure up the primordial man inside of us, which- externally at least- has long been repressed and maybe even destroyed.

To follow will be the panel UNA BUONA DOSE DI FOLLIA – CINEMA E ALTRI RIMEDI with: Murray Stein, Peter Ammann, Chiara Tozzi, Peppe dall’Acqua, Claudio Misculin. The meeting will be held by the journalist Rula Jebreal. 

Immediately afterward will be the projection of  L’ACCADEMIA DELLA FOLLIA by Anush Hamzehian (F, 2015, 52’):  L’Accademia della Follia is a theatre company created in the 70’s within the walls of the ex-psychiatric hospital in Trieste. The actors are people affected by psychological problems. The documentary is an account of the company and its principal actors.

At 6 30pm at the Cinema Ariston we will see a selection of the best British short films which have been put forth by the Encounters film festival in Bristol at SHORTS GOES BRITISH; 10 films that have been chosen from the most recent British productions.

At 9 30pm we will see the final film in the Nuove Impronte line-up: BABYLONIA MON AMOUR by Pierpaolo Verdecchi (I-E, 2017, 72’). The documentary follows the story of a group of Senegalese people who, for financial reasons, end up going to live in a European suburb in crisis. Their lives are a joke: someone recycles metal, others repair fishing nets, and others are drug-traffickers.


Three women wait for death

Isabelle Sieb

Regno Unito / United Kingdom 2015, fiction, 16’

Miranda e le sue due figlie sono stipate in un piccolo caravan per stare vicino al loro irascibile nonno durante i suoi ultimi giorni di vita. Lo amano ma i costi delle sue cure sono in aumento e, come se non bastasse, scoprono che ha nascosto alcuni risparmi, ma non riesce a ricordarsi dove.

Miranda and her adult daughters are crammed in a little caravan to be near their irascible Gramps in his final days. They love him but his care bills are mounting and then they discover that he’s hidden his savings and doesn’t remember where.

Sweet Maddie Stone

Brady Hood

Regno Unito / United Kingdom 2016, fiction, 24’

Dopo aver scoperto che suo padre è stato arrestato, Maddie deve pagare la sua cauzione. Mentre lotta, perde il controllo del suo mondo e diventa l’uomo che sta cercando di salvare.

After discovering her father has been arrested, Maddie has to make his bail. As she fights, her world spirals out of control – and she becomes the man she’s trying to save.


Ronit Miranda

Regno Unito / United Kingdom 2016, fiction, 10’

Lucy e Johanna sono in luna di miele. Arrivano in un b&b dove trovano una scontrosa proprietaria. Un’apparentemente insignificante divergenza si trasforma in un brutto litigio, dominato dal rumore della vicina diga.

Lucy and Johanna are on their honeymoon. They arrive at a b&b where they are greeted by a sullen landlady. A seemingly insignificant disagreement turns into a hurtful argument, as the noise of the weir dominates the background.

Healey’s house

Rob Savage

Regno Unito / United Kingdom 2016, fiction, 16’

Una giovane coppia intraprende un viaggio attraverso la Scozia per affrontare un inquietante ricordo.

A young couple travel to Scotland to address a haunting memory from their past.

Dawn of the deaf

Rob Savage

Regno Unito / United Kingdom 2016, fiction, 12’

Quando un impulso sonoro infetta la popolazione udente, un piccolo gruppo di persone sorde deve rimanere insieme per sopravvivere.

When a sonic pulse infects the hearing population, a small group of deaf people must band together to survive.



Diario di bordo – Day 05

Music, extraordinary and indispensible that- not just in art- represents a type of moral compensation for the eyesores and abuses that we impose on daily life.

Great music comes to the SHORTS INTERNATIONAL FILM FESTIVAL with the presence of the prestigious Pivio, the excellent cinematic composer and more generally, representative figure of the Italian artistic scene.

Pivio will be the coordinator of a master-class called SUONARE IL CINEMA, much anticipated event for this festival season. The first special event of the evening is kicked off by Pivio – in collaboration with Marcello Saurino – and the short film IT’S FINE, ANYWAY. Aesthetically very aggressive, bombarding us with perpetual Dolby surround music, which we see in the secret fight scene with lashings of blood and strong, stunning visual sensations.  

Valentina Carnelutti, young appraised actress who has already had several meetings with the festival, interprets IL SILENZIO, directed by Parnoosh Samadi and Ali Assari. The film is contextualized by verbal non-communication, using different languages, to confront the terrible theme of incumbent death. This is a sliver of excellent cinema.

Going back to Italian territory with the sympathetic and ironic FINCHE’ C’E’ VITA C’E’ SPERANZA, made up of healthy but modern sarcasm about the economic crisis, and a young couple, in dire economic straights particularly when it comes to wedding costs. The final is grotesque. 

Halloween is the celebration dear to the hearts of all those who love fantasy, horror and scary settings that appeal to the macabre tastes of those children who never grew up. This time it is a young girl who alters the cards on the table, in THE WITCHING HOUR by the film maker Riley Geis.

ESTATE by Ronny Trocker takes its inspiration from a photo by Juan Medina introducing us to an event that has little to do with a post card, and is instead about escape and freedom. Unsettling and vivid. Infancy and roses, infancy and thorns…. infancy transcending into adolescence, a fantastic world to protect. All this displayed in one unique minute in BIROUN AZ IN by Keivan Mohseni. 

Here, the intention is to contemplate, like looking at a strange outlandish aquarium, the female world at the centre of TILDA, by Katja Benrath. About a feminine world made up of dolls, strange modesties, shame and funny moments recounted with disarming ease.

When the audience explodes into laughter, at certain parts, it’s as if the chairs and the objects, the whole city square, everything, is taking part in a collective moment of playfulness. Dieter Primis achieves this with his grandiose GUANTANAMO BABY, illustrating the torments of a baby who is continuously mollycoddled by his mum and grandma.

ALZHEIMERS: A LOVE STORY is however a completely different taste of cinema, a touching story of gay love that transcends the pains of arthritis, illness and death. More than just one person in the audience is watery eyed, proof that the Schimmel – Petruzzelli writing duo tugged at the right heart strings and achieved the desired reaction.

Present this evening is the young director Morgan Gruer, who recounts with comprehensible pride the genesis of his short film REFLECTIONS, two minutes of stylized elegance.

Immediately afterwards, is the truly disturbing fan-scientific story of mannequins and inanimate bodies conceived by Dimitry Korabelnikov in THE MILE, an authentic nightmare on the road.

One of the most passionate cinematic moments of the evening comes from MON DERNIER ÉTÉ, a story of negated infancy and stolen sexuality, seen through the eyes of an acerbic pair of children. Poetry in its purest form, at the hand of Paul Claude Demers.

Concluding with the pyrotechnic fire, dazzling us with light and colour, created by Roman Daudet Kjahan in his KABOON; an explosion that will damage your eyes.

It is now past midnight and around us an assortment of youth are clinking their glasses full of coloured liquid.

See you on Thursday evening.