Day and night, the Decameron of the lockdown

(ANSA) - ROME, JUN 14 - THE DAY AND THE NIGHT by DanieleVicari is not only the only Italian film shot during the lockdown, but also the only one set in the respective 'prison houses' of the leading actors who have become sets. That is the first example of smart filming for which the director, from home, coordinated the work of the actors who remained in their respective homes. And this in a sort of Decameron of the lockdown. Four stories told in the film, available exclusively on RaiPlay from 17 June with the Italian and international distribution Fandango. We are in Rome where, due to a terrorist attack, the population is forced not to leave home: what happens to couples forced into their home walls, without the possibility of escape? It is the moment of confrontation and truth. Here are the stories.It all starts with Diego's ilraglio, Luca's donkey (Matteo Martari), university researcher in a farm in the Veneto region, who compulsively chats and phones Ida (Isabella Ragonese), a sunny woman with whom he had a one-night relationship. Then there are Andrea (Francesco Acquaroli) and Beatrice (Barbara Esposito), a couple in mourning after the death of their son. She had an affair with another man, not quite closed yet; he instead entered a spiral that led him to withdraw into himself and open up his job, without ever confessing it to his wife. Anna (Elena Gigliotti) is instead a young actress joined by her boyfriend, Manfredi (Dario Aita), who does her job but with more success and totally neglecting their relationship. And all of this becomes explosive.The news of the possible attack then surprises the framer Marco (VinicioMarchioni) in his laboratory, where Marcella (Milena Mancini), the very attractive woman of Sergio (Giordano De Plano) his best friend, knocks on the door. Will Marco, who has always been in love with her, manage not to be tempted now that he finds her all night in his laboratory? "The principle with which this film was born was to throw the heart over the obstacle. It was in all respects a vitalistic act against what surrounded us", says the director. (HANDLE).not to be tempted now that he finds her all night in his laboratory? "The principle with which this film was born was to throw the heart over the obstacle. It was in all respects a vitalistic act against what surrounded us", says the director. (HANDLE).not to be tempted now that he finds her all night in his laboratory? "The principle with which this film was born was to throw the heart over the obstacle. It was in all respects a vitalistic act against what surrounded us", says the director. (HANDLE).