INVISIBLE

In a small village in southern Italy, everyone knows everything about everyone. Peppino's mother has just run away from home, abandoning the family. Peppino, barely an adult, nicknamed "Platini" since he was a child, and his father Gerardo, a truck driver, they're both in crisis. The talent for football of little Peppino led Gerardo to bet everything on his career. Between injuries, training, auditions and lies, Peppino grows up under the strict rules of his father and spends his time with his coach-mentor, Carmando, a retired postman who makes everyone believe he played in Serie C. Jenny, the debts of his father with Don Antonio, the difficulties in the youth teams of the capital, and an injury, will bring Peppino back to reality. To no longer feel invisible, Peppino has to do something.

  • Federico Di Cicilia
    Director
    1999 Love writings, ITALY 16 mm – 3'.20” - 2001 Another year and I'll grow up, ITALY 35 mm - 80' – LUCE 2003 Stefania, with no surname, ITALY 35 mm - 10' 2016 Irpinia, my love – ITALY 2k/DCP – 74' 2021 INVISIBLE, ITALY 2k/DCP - 76
  • Federico Di Cicilia
    Writer
    1999 Love writings, ITALY 16 mm – 3'.20” - 2001 Another year and I'll grow up, ITALY 35 mm - 80' – LUCE 2003 Stefania, with no surname, ITALY 35 mm - 10' 2016 Irpinia, my love – ITALY 2k/DCP – 74' 2021 INVISIBLE, ITALY 2k/DCP - 76
  • Federico Di Cicilia
    Producer
    2016 Irpinia, my love – ITALY 2k/DCP – 74'
  • Alberto De Matteis
    Producer
  • Daniela De Vita
    Producer
  • MASSIMILIANO GALLO
    Key Cast
    "GERARDO"
  • NELLO MASCIA
    Key Cast
    "CARMANDO"
  • RENATO CARPENTIERI
    Key Cast
    "DON ANTONIO"
  • DANIELA DE VITA
    Key Cast
    "Angelina"
  • Project Type:
    Feature
  • Runtime:
    1 hour 16 minutes
  • Completion Date:
    March 23, 2022
  • Production Budget:
    100,000 EUR
  • Country of Origin:
    Italy
  • Country of Filming:
    Italy
  • Language:
    Italian
  • Shooting Format:
    2K
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • Los Angeles, Italia
    Los Angeles
    United States
    March 21, 2022
    World Première
    Look at...
Distribution Information
  • JAMFILM srl
    Distributor
    Country: Italy
    Rights: All Rights
Director Biography - Federico Di Cicilia

Federico Di Cicilia was born in 1973 in Avellino and lives in Irpinia.
Over the years he has been a student of Giuseppe De Santis, Florestano Vancini, Ugo Pirro, Franco Di Giacomo, Giuseppe Ferrara, Gianfranco Pannone, Leo Benvenuti.
In 1996 he shot “La grande occasione”, a documentary about the aftermath of the Irpinia earthquake, winner at the Salerno Film Festival. In 1997 he was assistant director in the film “Rehearsals of war” (original title: “Teatro di guerra”) by Mario Martone. In 1998 he shot “C’era una volta la valigia di cartone” a new documentary in competition at the “Sacher Festival” in Rome and winner of the Festival of the Alta Marca Anconetana. In the same year Federico graduated from the NUCT and was an assistant director in the film “The dinner” (original title: “La cena”) by Ettore Scola. In 1999, he shot his first short film “Scritte d’amore”. In 2001 he wrote, directed and performed “Un altr’anno e poi cresco”, a movie with Paola Cortellesi and Novello Novelli, in competition at the Festivals of Annecy, Villerupt and Montecarlo and winner of the Young Audience Prize in Paris. In 2003 he shot another documentary: “Stefania senza cognome”, which won the Critics Prize at the Festival of the Alta Marca Anconetana and screened at the Festival of Italian culture in Madrid. In 2012 he began the project of what it will become “Invisible”. In 2015 he shot “Irpinia, mon amour”, an episodic docu-fiction about Irpinia. In 2021 he completes the full-length film “Invisible” with Nello Mascia, Massimiliano Gallo and Renato Carpentieri.

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Director Statement

"L'idea iniziale era quella di girare il film alla maniera della “nouvelle vague”. Sapevamo però di avere a disposizione solo una 5D. Una macchina molto leggera che non mantiene la stabilità nei movimenti di macchina. Per questo avevamo costruito dei binari ed un carrello, insieme ad un dolly artigianale. Purtroppo però questi mezzi “artigianali”, non hanno retto la prova delle riprese vere e proprie. Già dal primo giorno, in parte sprecato per l'instabilità della macchina da presa, a causa del vento, ci siamo resi conto che non potevamo utilizzare quei binari, quel dolly (a piccole dosi) e soprattutto era difficile organizzare piani sequenza, anche con la macchina a mano. Rimaneva solo lo stile di ripresa anni 30', con due macchine e con inquadrature fisse, cercando di privilegiare la composizione dell'immagine, dando spazio agli attori e alla profondità di campo, alternata all'utilizzo dei teleobiettivi, tipico degli anni 70'. Cercare di tenere in equilibrio tutto questo è stato a volte complicato. Con il montaggio, però, il film ha ritrovato le ellissi, i jump cut, la divisione in capitoli, e altre caratteristiche che volevamo inserire nello stile del film. Per questo “Invisibili” è un film ibrido, un film indipendente e a basso costo che si è dovuto scontrare con mille problematiche tecniche e soprattutto economiche, mantenendo però una sua dignità."