Private Project

1974 1979. Le nostre ferite

Feminist housewives, the aspiring manager, the students, the policeman. Men, women, boys with a foot entangled in History, soft voices waiting to be heard. The extraordinary 'normality' of the "lead years" of ordinary people who survived political violence and terrorism in the Seventies is told in a choral film through original Super8 family repertoires and testimonies that rarely conquer the first pages. Between mobilization and disengagement, the images of lightness alternate with those of the crisis, of the civil commitment, of the struggles for rights, in a crescendo that overflows into increasingly brutal violence.

  • Monica Repetto
    Director
    "Il corpo dell'amore", “ThyssenKrupp Blues”, “La vera storia di Marianne Golz”, “Operai”, “La forza delle idee”
  • Monica Repetto
    Writer
  • Pietro Balla
    Producer
  • Beppe Leonetti
    montaggio
    DON'T FORGET TO BREATHE di Martin Turk, NON NE PARLIAMO DI QUESTA GUERRA di Fredo Valla, STORIE DAI BOSCHI DI CASTAGNE di Gregor Božič,
  • Cristina Flamini
    montaggio
    TONNO SPIAGGIATO di Matteo Martinez, PADRE di Giada Colagrande, IL COLORE DEL VENTO di Bruno Bigoni
  • Project Title (Original Language):
    1974 1979. LE NOSTRE FERITE
  • Project Type:
    Documentary
  • Runtime:
    60 minutes
  • Completion Date:
    July 10, 2020
  • Production Budget:
    320,000 EUR
  • Country of Origin:
    Italy
  • Country of Filming:
    Italy
  • Language:
    Italian
  • Shooting Format:
    full hd
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • 38. Torino Film Festival
  • finalista Nastri d'Argento Documentari 2021
  • Honorable Mention Toronto International Women Film Festival 2021
Director Biography - Monica Repetto

Regista e produttrice. Approda al mondo del cinema dopo la laurea in psicologia e il lavoro di critico cinematografico nei primi anni '90. Tra le sue opere la serie documentaria “Il corpo dell’amore”, nomination ai “Diversity Media Awards” 2020 (Rai3), “O rugbill” per la serie “Dmax Rugby Stories” (Discovery Channels), ha co-diretto con Pietro Balla, “ThyssenKrupp Blues” evento speciale alla Mostra d’Arte cinematografica di Venezia, vincitore del Mediterraneo Film festival (Rai Cinema), la serie documentaria “Scatti di nera” con Michele Placido (Fox Crime), i documentari “La forza delle idee”, “Operai”, “Falck. Romanzo di uomini e fabbrica” (Rai), “La vera storia di Marianne Golz” (sviluppato con il supporto del Programma europeo Media Plus per History Channel). Nel 2011 ha ideato e curato il lancio di ON THE DOCKS, prima piattaforma italiana di video on demand dedicata al cinema della realtà, con il sostegno della Regione Lazio. E’ tra i tutor del Premio Zavattini, workshop di formazione e sviluppo per la realizzazione di cortometraggi di riuso creativo del cinema d’archivio, promosso da Archivio del movimento operaio e democratico e Luce Cinecittà. E' autrice di saggi e scritti sul cinema. Ha collaborato con “Paese Sera”, “Il Tempo”, “il manifesto”, “Alias”.

Director’s Biography
Director and independent producer, in the 1990's Monica Repetto authored several television programmes and docufiction projects (e.g. Casa Pappalardo aired on Rai2, Destinazione Serie aired on Canal Jimmy.)
In 2002 she founded with Pietro Balla the independent film production company Deriva Film, with which she produces her own works and those of young Italian authors, collaborating in international productions. Her documentaries and short films have participated in major festivals and aired on major television networks (RAI, La7, Canal +, Sky). Her documentaries and short films were aired on major television networks (RAI, La7, Canal +, Sky) and selected by national and international festivals (e.g. Derive Gallizio, won the special mention of merit from the jury at the Torino Film Festival in 2000; the documentary series Loves in Flames, aired on La7; Panico Jodorowsky, aired on Canal Jimmy, the documentary The True Story of Marianne Golz, aired on History Channel – Fox International Channels Italy, the documentary Factory for Rai). In 2007 she produced and directed the documentary "The True Story of Marianne Golz" (Fox International Channels Italy, History Channel, developed with the support of the European program Media). Between 2005 and 2006 she directed and produced "FACTORY, the working class airs", 25 ' pilot for a TV series, with Alba Rohrwacher. She authored and produced the tv programme Black Shoots, which was aired on Fox Crime (Sky) and hosted by Michele Placido. In 2008 she directed with Pietro Balla her first feature length documentary, "ThyssenKrupp Blues", special event at the 65th Venice Film Festival in Venice in the "Orizzonti" section and winner of the Mediterranean Film Festival (Rai Cinema). Her latest documentary series “Il corpo dell’amore” (Rai 3) was nominated in 2020 as Best TV Program of the Year at the Diversity Media Awards, an annual event organized by Diversitylab that measures and values ​​diversity and inclusion in the representation of people in the media. Her latest film “1974 1979. Le nostre ferite” is in the official selection of the 38th Torino Film Festival. Journalist and publicist by training, she has published numerous essays and publications on cinema, and she collaborated with the weekly Alias and Il manifesto.

Add Director Biography
Director Statement

Per acerbi limiti d’età non ho fatto in tempo a vivere quegli anni. Sono arrivata a festa/guerra finita, ho vissuto tra i rottami e le carcasse lasciate per terra. Non sono una ex del ’68. Sono nata nel 1965 in una famiglia in cui la politica era un film in bianco e nero con Don Camillo e Peppone. A casa mia le droghe erano quelle dei poveri, il vino. Le armi erano quelle dei contadini, il fucile da caccia. I libri erano Selezione del Reader’s Digest, Topolino e Salgari. Non c’era il femminismo, non c’era “Dalla parte delle bambine”.
Quindi conosco bene la melassa di moderazione e medietà in cui si invischiano i gesti di rivoluzione. Non sono una ex del ’77. A 12 anni vivevo isolata in una campagna brulla che si stava ricoprendo di capannoni di cemento. Sono una contraddizione ambulante. Dico no alla cultura di classe ma ne sono il frutto. Da questa posizione che mi sta scomoda ho guardato a quei Settanta, decennio cerniera per l’occidente capitalistico, fine del ciclo espansivo del dopoguerra, dominato da un forte conflitto sociale e da una irriducibile forza d’immaginazione. Partendo da qui volevo strappare le cose dal paesaggio indistinto, che per noi in genere è il passato degli altri, la vita degli altri quando non eravamo presenti. Ho cercato tra testimonianze, immagini in super 8, archivi e faldoni, perché mi interessava quella zona d’ombra in cui le narrazioni si sono incagliate, tacendo, forzando, idealizzando, negando e a volte anche manipolando. Alla ricerca di un modo per raccontare una storia che sfuggiva da tutte le parti ma che mi portava dagli anni ’70 della mia infanzia dritto a scapicollo negli anni ’80 del nostro disimpegno.

DIRECTOR STATEMENT
Due to immature age limits, I didn't have time to live those years. I arrived at the party / war over, I lived among the wreckage and carcasses left on the ground. I'm not a May '68 veteran. I was born in 1965 in a family where politics was a black and white film with Don Camillo and Peppone. In my house the drugs were those of the poor, the wine. The weapons were those of the peasants, the shotgun. The books were Selection of Reader's Digest, Mickey Mouse and Salgari. There was no feminism, there was no "On the side of the girls".
So I am well acquainted with the molasses of moderation and meanness in which the gestures of revolution get involved. I'm not an ex from '77. At the age of 12 I lived isolated in a barren countryside which was being covered with concrete sheds. I’m a walking contradiction. I say no to class culture but I am the result of it. From this position that is uncomfortable for me, I looked at those Seventies, a pivotal decade for the capitalist West, the end of the post-war expansionary cycle, dominated by strong social conflict and an irreducible power of imagination. Starting from here I wanted to tear things away from the indistinct landscape, which for us is generally the past of others, the life of others when we were not present. I searched through testimonies, images in Super 8, archives and folders, because I was interested in that gray area in which the narratives got stuck, keeping silent, forcing, idealizing, denying and sometimes even manipulating. Looking for a way to tell a story that escaped from all sides but that took me from the 70s of my childhood straight to the 80s of our disengagement.