Gianni Amelio

1 Film in collection

Gianni Amelio was born in the province of Catanzaro and, after attending the Centro Sperimentale di Cinematografia and getting a diploma in Philosophy, he works as a camera operator and as assistant director. At the beginning of his career he directs various TV movies and his production develops around documentaries and odd and elaborate films such as La città del sole (City of the sun), interesting divagation on Tommaso Campanella, followed by the documentary Bertolucci secondo il cinema (Bertolucci According to the Cinema) (1976). With Colpire al cuore (A blow to the heart) (1982), presented at the Venice International Film Festival, he earns good successes with the critics, successes that prove themselves with I ragazzi di via Panisperna (The Boys on Panisperna Street) (1988) and even more so with Porte Aperte (Open Doors) (1990), that will bring him an Oscar nomination. Then, it is time for the incredible artistic outcomes of Ladro di bambini (Stolen Children) (1992), Lamerica (Lamerica) (1994), Così ridevano (The Way We Laughed) (1998), Leone d’oro at the Venice International Film Festival. 2004 marks the return of Amelio the director and screenwriter with Le chiavi di casa (the Keys to the House), in competition at the Venice International Film Festival. Two years later, in 2006, Amelio goes back to the Festival with La stella che non c’è (the Missing Star), while in 2011 he presents Le premier homme to the Toronto International Film Festival and obtains the Premio Fipresci.


2013 INTREPIDO – A LONELY HERO (l’intrepido)

2011 LE PREMIER HOMME (Il primo uomo)

2006 LA STELLA CHE NON C’È (The Missing Star)

2004 LE CHIAVI DI CASA (The Keys to the House)

1998 COSÌ RIDEVANO (The Way We Laughed)

1994 LAMERICA (Lamerica)

1992 IL MERCANTE (cm)

1992 IL LADRO DI BAMBINI (Stolen Children)

1990 PORTE APERTE (Open Doors)

1988 I RAGAZZI DI VIA PANISPERNA (The Boys on Panisperna Street)

1982 COLPIRE AL CUORE (Blow to the Heart)

L'intrepido (Flyer)

L'intrepido (2013)

Let’s imagine that there is a new craft, and that it is called “replacing”. Let’s imagine an unemployed man who would practice such craft every day. So much so, that he would actually work beyond measure, and that he would be, in his own way, a happy man. All he does is take on, for a few hours, the role of absentees who duck – for more or less serious reasons, their official occupation. More

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