Lucia Catalini
NÉ UNA NÉ DUE
Italia, 2024, 5'57"
A young woman finds a notebook of 1951 written by her maternal grandmother. By leafing through it, she reconstructs her life. Now a 25-year-old, Elena keeps but few memories of Laura, but finds out she is quite like her.
This film was triggered by an autobiographical event. Its core flows onto the photographs found in the notebook’s original pages. In some way, the film is co-directed, by me who drew and my ancestor who wrote. In the making of the film, I used several techniques, including graphite, acrylic painting, rotoscope, and stop motion.
Presentazione di Pierpaolo Loffreda
ROSARIA’S MARRIAGE (Italia, 2024, 4’09”) di Adina Oana Enache, Oscar Renni
AN EXPLOSIVE LOVE STORY (Italia, 2025, 2’29) di Adina Oana Enache
IL BURATTINO E LA BALENA (Italia, 2024, 8’10”) di Roberto Catani
WHITE ON MY SIGHT FIELD (Italia, 2024, 1’57”) di Marianna Riccardini
CIELI RUBATI (Italia, 2024, 1’48”) di Manuele Serrani, Matteo Mangani, Valentina Canu, Marianna Riccardini
OLTRE LA CUPOLA (Italia, 2024, 1’36”) di Ale Dispensa
IL LABIRINTO (Italia, 2024, 0’55”) di Chiara Gentili
DARK GLOBE (Italia, 2024, 3’19”) di Donato Sansone
SOTTO18 (Italia, 2024, 0’35”) di Donato Sansone
DEIFIED (Italia, 2024, 4’10”) di Donato Sansone
FANTASMI (Italia, 2024, 0’54”) di Donato Sansone
WATER TANKS (Italia, 2024, 2’40”) di Donato Sansone
MAKE SENSE OF ANY MESS (Italia, 2024, 3’23”) di Donato Sansone
CUTI (Italia, 2025, 0’56”) di Ionut Rosanu
TINNITUS#3 (Italia, 2025, 6’41”) di Michele Bernardi
VOLARE CON LE ZANZARE (Italia, 2025, 1’51”) di Stefanie Mair
NÉ UNA NÉ DUE (Italia, 2024, 5’57”) di Lucia Catalini
CENTOMILIONI (Italia, 2024, 1’02”) di Lorenzo Mauro
FONTANA MIX (Italia, 2024, 7’21”) di A.A.V.V. (I Biennio Illustrazione 2023/2024, ISIA Urbino)
ASSONANZE E DISSOLVENZE (Italia, 2025, 3’12”) di A.A.V.V. (Scuola del Libro di Urbino)
Contemporary Italian Animation
curator Pierpaolo Loffreda
BEST IN SHORTS has now reached its 11th edition at the Pesaro Film Festival. The non-competitive section is dedicated to inventive works made by Italian animation filmmakers over the past few months: “Contemporary Italian Animation,” literally.
We continue to welcome a considerable number of BEST IN SHORTS this year, something which proves there is a very wide, and high-quality, offer.
There are mainly works made by young and very young filmmakers, very capable beginners, who are being trained in animation film at Schools and Fine Arts Academies. The selection also includes the latest, qualified productions of some well-known filmmakers – whose award-winning work has already circulated abroad – with whom the Festival has a special connection: Roberto Catani, Donato Sansone, and Michele Bernardi, friends of our Festival, who already had a dedicated retrospective and meeting. The section is completed by a special work, a montage created ad hoc and accompanied by original music, of fragments from films made in the past by alumni of the Specialization Course in animation drawing held at the Scuola del Libro in Urbino: pleasant surprises and verifications. This year, the Course celebrates its 70th anniversary and the Scuola its 100th. We congratulate them all, as they are an Italian excellence.
All the creators selected work like artisans, for many months, even years, in order to express themselves and present films of great imagination and originality, usually at festivals. These works are extremely diverse in terms of language, style, and techniques, which include traditional solutions such as hand drawing and stop motion but also digital systems. We believe all of them give the idea of the level of vitality, creativity, innovation, and research that many film-makers in our country are able to express in spite of the lack of means and the scant attention received by the Italian establishment. Creative animation in Italy certainly is a world apart, an almost clandestine activity; young talents scarcely manage to show their works to an audience or even find a niche. Thus, it’s almost like a secret society for the devout. Unlike in Europe, there aren’t clients or distributors in this sector. The filmmakers rely on home-made production and an underground circuit of friends, acquaintances, connoisseurs, and festivals. Including us, the first.
BEST IN SHORTS – Contemporary Italian Animation was made possible this year thanks to the fundamental partnership with the Academy of Fine Arts in Urbino as well as those with the Academy of Fine Arts in Catania, the Istituto Superiore per le Industrie Artistiche in Urbino (with the animation courses conducted by Mara Cerri and Magda Guidi), the Liceo artistico – Scuola del Libro in Urbino, and the Associazione Libera Marchigiana Animatori.
ALL SCREENINGS ARE FREE
