A mysterious funeral is taking place at the Church of Santa Maria della Sanità in Naples: that of someone who is so important that even television crews are there to pay their respects.
This is how the story starts, almost at the end, to then start from the beginning. Naples, with Vesuvius permanently dominating the backdrop, is a beautiful and contradictory feature right from the first shot. This is even true when the scene shifts to the open sea where Ciro tries to save Fatima, also showing us the seafront, Posillipo, and the gem that is Castel dell’Ovo.
A trip to the Vele di Scampia complete with some bag-snatching, an example of extreme film tourism following in the footsteps of the anti-heros of Gomorra (the ultimate touristic experience), is one of the many parodies of the Neapolitan clichés that the Manetti Bros. inserted into the film.
The love between Ciro and Fatima is one that never died. All it takes is a casual encounter face to face, after years of being apart, for the flame to re-ignite instantly. Fatima recalls, to the tune of What a feeling, the unforgettable soundtrack to Flashdance revisited in Neapolitan tones, their adolescence in Torre Annunziata and the moment when he disappears without an explanation to join the Camorra. One of Fatima’s memories takes us onto the ‘port ramp’, set against the backdrop of the street murals done a few years ago as part of the JA project, the aim of which was to redevelop the ramps of the city’s port and their unique urban and landscape features.
But l'ammore o'vero nasce 'na vota e nun more maje, and the general fight to the tune of music and bullets shows us the hidden sides of the city, from the Sanità district to the hidden coves along the coast, including Fontanelle cemetery, the macabre hideout for a Rosario left disappointed by his friend Ciro and looking for revenge.
A cameo appearance by Pino Mauro, the master of Neapolitan theatrics, who sings on a throne behind the Church of San Francesco da Paola, takes us to the very central Piazza Plebiscito.
The finale takes place at Don Vincenzo’s villa, sheltered on Trentaremi beach (which was only used for the views and then replaced by Acquamorta beach), which looks out over Procida. It is on the small beach between Acquamorta and San Martino, located in one of the coves in Mount Procida looking out to Procida Island, that the film concludes.
A mysterious funeral is taking place at the Church of Santa Maria della Sanità in Naples: that of someone who is so important that even television crews are there to pay their respects.
This is how the story starts, almost at the end, to then start from the beginning. Naples, with Vesuvius permanently dominating the backdrop, is a beautiful and contradictory feature right from the first shot. This is even true when the scene shifts to the open sea where Ciro tries to save Fatima, also showing us the seafront, Posillipo, and the gem that is Castel dell’Ovo.
A trip to the Vele di Scampia complete with some bag-snatching, an example of extreme film tourism following in the footsteps of the anti-heros of Gomorra (the ultimate touristic experience), is one of the many parodies of the Neapolitan clichés that the Manetti Bros. inserted into the film.
The love between Ciro and Fatima is one that never died. All it takes is a casual encounter face to face, after years of being apart, for the flame to re-ignite instantly. Fatima recalls, to the tune of What a feeling, the unforgettable soundtrack to Flashdance revisited in Neapolitan tones, their adolescence in Torre Annunziata and the moment when he disappears without an explanation to join the Camorra. One of Fatima’s memories takes us onto the ‘port ramp’, set against the backdrop of the street murals done a few years ago as part of the JA project, the aim of which was to redevelop the ramps of the city’s port and their unique urban and landscape features.
But l'ammore o'vero nasce 'na vota e nun more maje, and the general fight to the tune of music and bullets shows us the hidden sides of the city, from the Sanità district to the hidden coves along the coast, including Fontanelle cemetery, the macabre hideout for a Rosario left disappointed by his friend Ciro and looking for revenge.
A cameo appearance by Pino Mauro, the master of Neapolitan theatrics, who sings on a throne behind the Church of San Francesco da Paola, takes us to the very central Piazza Plebiscito.
The finale takes place at Don Vincenzo’s villa, sheltered on Trentaremi beach (which was only used for the views and then replaced by Acquamorta beach), which looks out over Procida. It is on the small beach between Acquamorta and San Martino, located in one of the coves in Mount Procida looking out to Procida Island, that the film concludes.
Copyright: Marina Sgamato
Claudia Gerini — Church of Santa Maria della Sanità, Via Sanità, Naples
Copyright: 01 Distribution
Serena Rossi, Giampaolo Morelli — Naples
Copyright: 01 Distribution
Raiz — Fontanelle Cemetery, Naples
Copyright: Marina Sgamato
Cantieri Palumbo, Naples
Copyright: Marina Sgamato
Serena Rossi, Giampaolo Morelli — Marechiaro, Naples
Madeleine, Manetti Bros. Film, Rai Cinema
Ciro and Fatima run into each other after years apart by accident. He’s a hit man for a Camorra mafia boss, and she’s in the wrong place at the wrong time.
