The young director Vincenzo Giordano, winner of the Fellini Film Festival with the short The little Mermaidpresented his new work at the Italian Pavillon in Cannes, Night is an odd dayin which he tells a cross-section of reality in which deception and fate are intertwined in a spiral of wrong choices.
The night is an odd day is a mirror of a reality that could surround us, or perhaps already surrounds us, in which we often want or are forced to be unaware of the danger that appears before our eyes, but at the same time it is the reflection of human fragility and how often one does not have the possibility of overcoming desperation with one’s own means and how much being a child means rebelling, realizing one’s secret and looking with different eyes at everything that has been and is different from we. It is possible to find an affinity with our foundations, our land, our parents, but not in entirety.
Night is an Odd Day is the first short film produced by Calamazúa film production company founded by Giordano himself and by Carmen Bagalàproducer under 30, graduated from the Centro Sperimentale di Cinematografia and graduated in Economics and Management for Art, Culture and Communication from Bocconi.
Calamazú, with reference to Night is an Odd Day, has applied the Green Film guidelines for sustainable film production. The short film was made with the contribution of the Campania Region Film Commission and the Campania Region and with the support of the General Directorate of Cinema for the audiovisual sector of the MIC.
Synopsis
A street stall selling ‘O pere e ‘o Musso has just appeared in the town – a mass of cyanotic butcher’s waste – and little Tommaso cannot imagine that his fate is in the hands of Vittorio, the man who is cutting the meat before his eyes. But tonight nothing is as it seems, and even participating in a tasty lottery can turn into the worst of catastrophes.
Night is an odd day, monsters and inevitability
Only at night can monsters attack, because during the day they return to being human and forget what they did hidden in the darkness to continue to survive among appearances.
The short film by Vincenzo Giordano is contaminated with the thriller and the disaster movieuses a register that at times seems disconnected from the reality of a regime other, that of a nightmare from which it is difficult to wake up. The refined direction, with shots and points of view that are never predictable, is combined with the photography of Philip Marianowhich “dyes” the most significant moments with neon tones, making pulp the shady bingo that is played against an unfortunate naive person, the object of a deadly plan.
But while the characters respect their role, or are victims of it, the inevitable razes any possibility of redemption, or simply of the painful continuation of their existence on the margins. In the night everyone loses something, and is convinced that the case is just an illusion.
Silvia Pezzopane
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