RIFF Movies Archive

BEHIND MY EYES. CHAPTER 1. THE CUP.



Italy, 2016, MOV - Color - 28:36

DIRECTED BY:
RICCARDO EGGSHELL

CAST:
RACHELE STUDER, RICCARDO EGGSHELL

SCREENPLAY:
RICCARDO EGGSHELL, RACHELE STUDER.

PHOTOGRAPHY:
ACTOR STUDER

EDITING:
RACHELE STUDER

MUSIC:
LORENZO PESCI, UNCLE STEVEN, RICCRDO EGGSHELL

PRODUCTION:
NONE FOR NANA'

STORY DESCRIPTION:

The unstoppable violence of a childhood scene, came to the mind after a sensorial exercise trained by a mysterious man, a kind of doctor or acting coach, which is actually the alter ego of our heroine. It brings the actress Melanie Klein to write the novel of her life, in other words to write her life as a novel, chapter by chapter, day by day, as a metatheatral conception of her life.CREDITSNone for Nanà presentsA shortfilm by Riccardo EggshellFrom the novel by Rachele StuderStarring Rachele Studer Riccardo EggshellStoryline by Riccardo EggshellScreenplay by Riccardo Eggshell Rachele Studer Dr. Riccardo CappaDirected by Riccardo EggshellMusic by Lorenzo PesciEdited by Rachele StuderPhotography Actors Studer
DIRECTOR BIOGRAPHICAL NOTE:

BIO RICCARDO EGGSHELLItalian actor, from Rome background. He studied Drama and completed his training as an actor not at the London Academy of Music and Dramatic Art but on the way graduating not with an MA in Classical Acting but with a kick in the ass. But basically, he's a self-educated genius. Self-study, self-exploration, self-empowerment: these are the virtues of a great education. Or of a great adaptation. Indeed, since the academies and the film agents and the casting directors wouldn't take the selftaught –, at least in a narrow-minded capital city of a country with a small-town mentality –, he was forced to be self-taught too as a playwriter and screenplay-writer (so he could write parts for himself and for the other “oversights” of society, just like his wonderful companion of struggle as well as incredible young actress, Rachele Studer). Definetely, he does not claim the role of stage/film director. He considers himself an actor. He prefers the stage to screen, where showbusiness offers the actors only stereotyped characters, and if you are in character enough of a man to play the part of an outrider, they make you play the part of an unconventional outsider. Either in theatre or in motion picture, he likes working with recordings and microphones, not as much in audiobooks or dubbing as in sound research and experimentation between various languages.

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