(ANSA) - ROME, JANUARY 16 - A reportage investigation in installments, a format not very popular in Italy and a painful theme that has brought the public back over the years: SanPa - Luci etenebre di San Patrignano, the first Italian Netflix directed by Cosima Spender, it is one of the most viewed products of the platform in Italy and abroad.
With us it makes people discuss, rekindles the debate on the theme of Vincenzo Muccioli's methods, reopens wounds for those who lived through those years and makes new generations aware of a forgotten past.
Developed, written and produced by Gianluca Neri, it is also the debut of a new production company, 42. Made with "51 different archive sources, of which 26% of Teche Rai material", he says in an interview with ANSA Blacks.
Did you expect so much hype?
"A little, yes, but not all of this. We thought we could involve 'veterans' of those years instead there are many young people to whom we have told a world that they did not even imagine".
Among the projects, the first concerns the case of Yara Gambirasio, the 13-year-old killed in the province of Bergamo.
Then the Uno Bianca, the crime series of the gang led by the Savi brothers, policemen, in Emilia-Romagna between 1987 and 1994. "But first - he anticipates - a project proposed to the company by Selvaggia Lucarelli: Kids don't lie, children they do not lie that it traces the tangled thread of cases exploited with childhood between Rignano Flaminio and Bibbiano ".
Black points out that there are still no deals with Netflix, Sky or otherwise at the moment.
And that among the "41 projects in the pipeline" there is the documentary exposition of the story of Gianni Franciosi, the infiltrator among the narcos (there has already been a miniseries with Giuseppe Fiorello), created by Matteo Caccia, author of a theme, The Full.
And then a novelty: the film debut: the 42 has acquired the rights of Vittorio De Sica's memoir, La porte del cielo (published by Avagliano), for a co-production with the United States in which Christian De Sicache may have always the dream of telling the father's story and those first tiring years of the first half of the last century.
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