the broken circle

The story of a group of youngsters on their twenties, to the utmost of emptiness and caught up in a sort of impelling urgency, socially imposed, to state at all costs their shocking “visibility”; there
they easily cross the line past the banality of being
stoned out to the most extreme and grotesque horror

  • Sarah Revolterra
  • Sarah Revolterra
  • Lucio Scarpa
    Tintoretto, Alida
  • Franco Bocca Gelsi
    L'ultimo pastore, Fame chimica, Fuga dal call center
  • Project Title (Original Language):
    il cerchio rotto
  • Project Type:
  • Runtime:
    1 hour 31 minutes 37 seconds
  • Completion Date:
    January 20, 2021
  • Production Budget:
    600,000 EUR
  • Country of Origin:
  • Country of Filming:
  • Language:
  • Shooting Format:
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
Director Biography - Sarah Revolterra

Sarah Revoltella, born in Geneva lives in Padua. She is a director, a writer and an artist.
Her works include:
– 8 febbraio (2004), a short historical film (Ministero dei Beni Culturali award, Mestre Film Festival winner), actually released by Regione Veneto Circuito Off.
The novels:
– Il cerchio rotto (2001, Land Italia )
– La rivolta dei mulini (2002, Frigidaire)
– Macedonia (2010, Zel Edizioni).
Sarah Revoltella is actually «Bianco e Nero» and «La valle dell’Eden» University publication collaborator. During the year 2010, she accomplished the set up of Polarizzazione (Gino Gianuizzi curator, 2011 Biennale selected).
In September 2011 she realized the set up of Traduzione for the Revoltella Museum of Modern and Contemporary Art of Trieste.

Add Director Biography
Director Statement

The “Broken circle” is the representation of a weird unbelievable nightmare which becomes reality even against the will of their own creators. It is the painful awareness of how a society, aiming at the materialization of dreams at any price, succeeds in producing frustrated persons who commit themselves to destruction and self-destruction just for the sake of emerging as heroes or anti-heroes inside their circle of reference. The need of religiousness of the characters crossing a sort of cultural “zero level”, becomes true in the ideation of a kind of tribal ritual identifying value in the body sacrifice a “membership”. The subject of the film questions not only about children looking for identity, but also about “fathers” overwhelmed by their work and often guilty of indifference and superficiality.
The stylistic code.
The stylistic choice is mainly focused on the aspects of emotional detachment, with an attitude that is more focused on describing the mechanics of facts than providing a judgment.
The first part of the film is the prelude subsuming to Andrea’s dissolution. Through his personal experience, emerges a realistic example of a loss of awareness sinking in the group and pairing with the physical loss of his “look”.
In the second part of the film, devoted to the ideation of dining events, just Fabio and his crime partner rule and lead the movie. In the end Chiara’s arrival acts as a further turnover. Andrea gets aware of his sentimental humanity and consequently takes possession again of his own “look”.
The background.
The story takes place in the surroundings of Padova (Padua) in an urban context where, near to a vague reminiscence of a recent economic development, grey buildings and anonymous small houses keep pointing out the provincial atmosphere of modern days. From the stylistic viewpoint, there is an emerging contrast among chaotic areas, colourful and smart discotheques alternated to the intimacy of candlelight dinners, a sort of sacred ritual is set up, underlined by the plainest chromatic choices and by a certain solemn symmetry. The obsessive repetition of scenes tied to the “sballo” (the groove, the buzz) rite, happening in night-clubs, in baths and in parking places underlines the mechanics of an everyday squalor that suddenly aspires to “be dignified” in the” mythical” experience of ritual dining events.
The banality of the exterior locations, often hidden by the Veneto countryside fog, gives suddenly place to the affluent and glazed interiors of Fabio’s home, where the characters display smart and exclusive looks; showing a sort of common style which never succeeds in masking the emptiness of their lives.
The last scene, a hint to Luis Buñuel and the symbolism of the sacrificial animal, re-enters into the purpose of closing the film with an open question.