Pio

A film by Jonas Carpignano. In ita­li­an with ger­man subtitles.

One of the memo­r­able cha­rac­ters lifted from rea­li­ty in Jonas Carpignano’s huma­nistic and time­ly plun­ge into the European refu­gee cri­sis, Mediterranea, was Pio Amato, a craf­ty pre­teen ope­ra­tor from a Romani fami­ly on the edges of a Calabrian town cal­led Gioia Tauro. Already the sub­ject of an iden­ti­cal­ly tit­led short film, this magne­tic Dickensian hust­ler now gets a rich­ly con­tex­tua­li­zed fea­ture por­trait in 
Pio – A Ciambra, a com­ing-of-age dra­ma with a ste­alt­hy emo­tio­nal char­ge that fur­ther enhan­ces the writer-director’s repu­ta­ti­on as a gifted prac­ti­tio­ner of Italian neo-neo­rea­lism. Executive pro­du­cer Martin Scorsese’s name should help the film secu­re dis­tri­bu­ti­on. Pio was 14 when the film was made, on the pre­ci­pi­ce of pre­ma­tu­re adult­hood. (…) Tim Curtin’s hand­held came­ra­work is high­ly effec­ti­ve when it moves in clo­se on Pio, sear­ching his face for access to ever­ything his alert young mind is pro­ces­sing. Invaluable tex­tu­re is pro­vi­ded also by Dan Romer’s score, which is bold and dyna­mic but used with judi­cious eco­no­my. (…) Carpignano is buil­ding an impres­si­ve­ly cohe­si­ve gal­le­ry of out­si­der por­traits.” (David Rooney, The Hollywood Reporter)

Credits:
A Ciambra

Deutschland, Frankreich, Italien, USA 2017, 120 Min., ital. OmU
Regie: Jonas Carpignano 
Buch: Jonas Carpignano 
Kamera: Tim Curtin 
Schnitt: Affonso Gonçalves 
mit:
Pio Amato, Koudous Seihon, Damiano Amato

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