Fragments of Winter 

Gianluca Colitta - 18'

 (Italy)


Synopsis

These fragments presented here are the remains of "L’inverno". That is, the remains of an unfinished film. A series of unforeseen production-related occurrences made the completion of the film impossible... and turned "L’inverno" into a film of appearances, a film of pieces, of... "Fragments".


Trailer

No trailer for this film.


Film

Director not to present this film for Public, the Jury can award the film through private screening.


http://fragmentsofwinter.gianlucacolitta.com/

Gianluca Colitta

Gianluca Colitta is an Italian author and film director.

Since 2004 he has realized several short films, which are distinguished by a particularly restless and rarefied narration, various performances, video installations and he has published a book.

His works were presented and shown in Milan, Rome, Cosenza, Lecce, Brussels, Beijing, Bucharest, Glasgow.

He mainly lives in Rome.


ABOUT "L'INVERNO"

In the beginning it was a short film. The story of a man and a woman who meet by chance, they like each other, they get to know each other, they make love and they fall asleep. Until he wakes up and, maybe because he is bored or maybe a sudden inspiration, he starts painting his car in red dots. Once finished, he stays there watching is work from a short distance. After some little time he jumps in the car and runs fast to a pier. The screen turns black for a few seconds. When the image appears again, there is nothing: not the car nor the man nor the woman. All is lifeless. Only the sea is alive. And the wind. Everything has disappeared or maybe it never existed.

FROM "L'INVERNO" TO "FRAGMENTS"

ABOUT "FRAGMENTS"

When I have shot "L'inverno", I had a film in mind. When I have finished "L'inverno", I have found the film. I think I can sum it all up like this, in the end.

What are the "Fragments of Winter"? 
A film in fieri and a film testimony of production difficulties that have “broken” the original film and have split it, uncompleted.

Why the "Fragments of Winter"? 
At the end of a “failed” film why not showing it? Opening the film, giving it to the spectator, even if wounded; multiplying the framings and the screens, in order to even renew the concept of movie theatre.

How? 
With a museum space big as an hangar, with five big screens scattered (more or less perpendicular to each other) in the empty and dark space, each one of them showing a fragment of the film in loop sequences. Few spectators per visit, free to move, to wonder, attracted by the sounds and lights that come out from the different screens.

For this reason this is an “open film”... 
I have thought that just as all of us – the actor, the crew and myself – we got lost in the making this film, I would like the same to happen for the spectator, that he looses himself inbetween the five big "Fragments". Thus giving the impression of a film that is once again “suspended”, not only in its story or in the style, but also in its modality of vision.

How, technically? 
With five screens, five blu-ray players, five projectors, ten speakers and a lot of darkness. More specifically, with two versions, one different from the other, for various situations. The low budget version, designed for smaller spaces, with five digital televisions and five blu-ray players. The high budget version, designed for much bigger spaces as abandoned churches or hangars, with cinema screens and excellent digital projector. Sound is stereo in both versions. Therefore, sound diffusion will be the same: two good speakers for each screen will be enough.

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"FRAGMENTS OF WINTER"

a film by Gianluca Colitta 
a production by Sharoncinema production, Media Land, Azteca 
with Andrea Onori and Marie Marlard

Original language FR 
subtitles EN

IT 2014 | 18' | col. | SHD - 4K

a production by Associazione Culturale Azteca | associate productions Sharoncinema Production, Media Land | executive producer Rita Surdo (Sharoncinema Production) | script and direction by Gianluca Colitta | collaboration of the script Cesare Landricina | camera (col. SHD) Giuseppe Truppi | art directors Marcella Mosca, Egle Calò e Corrado Pizzi | costume designers Marcella Mosca e Allegra Mori Ubaldini | music and sound design Luigi Porto | editing Tiziana Settembrini | additional editing Paola D'Andrea | 1st assistant director Esmeralda "Dada" Da Ru | director's assistant Gabriella Barbati and Viviana Dominici | continuity Francesca D'Antoni | floor sound engineer Andrea Mazzotta | production manager Leonardo Peluso (Sharoncinema) | production assistants Roberta Stifini, Luigi Nico, Giovanni Castelluccio | camera operator Giuseppe Truppi | 1st camera assistant Gennaro Visciano | camera assistant Pier Paolo Battocchio | key grip / best boy Simone Petrelli / make-up and air stylist Roberta Stifini | cast Andrea Onori and Marie Marlard.


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