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Luigi Di Gianni (born in Naples on October 20, 1926 and died in Rome on May 10, 2019) is an Italian screenwriter and director. Luigi Di Gianni believes in the power of cinema. It is this spirit, tragic and rogue, that has always possessed him. And that makes his films an experience difficult to forget in any hurry. It is an insinuating spirit, which ends up delighting and even tormenting the spectator, at first alien to her. It has multiform and unpredictable tentacles, which evade the safety of easy classification. Every time one tries to venture a definition, one has the suspicion of falling into reductionism, as if something is always missing. Starting with an inevitable question, however tedious it may seem: can we be content to speak, in his case, about documentary cinema? If asked, Di Gianni would certainly answer with a peremptory no, and for good reason. His is a decidedly authorial cinema. It is crossed by cultural and intellectual tensions that embrace literature, music, philosophy and great cinema. It is sustained by a sometimes unsatisfied desire to control rhythms, atmospheres, sounds, lights, movements… Above all, it is driven by the conviction that cinema is an expressive instrument that offers us a vision (turned black) of man and the world. And yet it is clear that few filmmakers have been able to document in such depth some of the most surprising, heartbreaking and disturbing aspects of our society, especially those rooted in the atavistic miseries of the South, as if tracing the deep folds of an Italian “anti-miracle.” Let’s take a guess. Di Gianni brings to light what elsewhere we tend to sweep under the carpet of rationality and respectability, but which, inexorably, is there underneath, applying pressure: his cinema is the documentation of social repression. Let’s follow with the thread of apparent contradictions. Di Gianni is an apolitical director, he does not believe in progress (he prefers the infinite labyrinth), he tends to be on the side of history. But, at the same time, one senses in his films a cry of rebellion, a love for the last; in short, an ethical and civil tension that is often lacking in those directors whose primary aim is to change the world. Once again: the characters in his films seem inexorably shrouded in cloaks of tragedy, and yet we are surprised, at certain moments, by the mockery of an unexpectedly grotesque twist. Armed with civic presumption, we are tempted to be indignant at manifestations that seem to plunge into the abysses of ignorance and backwardness, but at the same time, it is difficult to find filmmakers who place themselves before the world they choose to represent with more respect, avoiding the temptation to judge. And do we want to call his cinema “ethnographic”? Of course, he is one of its undisputed masters. It’s a pity that he is the first to strongly deny it, claiming instead that his films are about something else. It is not surprising that Di Gianni’s cinema is a magnificently isolated object, not only in Italy (this is unmistakably demonstrated by his only feature film, Il tempo dell’inizio, a kind of slow-motion nightmare, alien and elusive). Perhaps this is also one of the reasons for its charm, unalterable with the passage of time. The revival of his films seems to us, quite simply, necessary.
Info
- wc Gender: Male
- calendar_month Birth Date: 1926-10-20
- event Death Date 2019-05-10
- school Known for: Directing
- star Popularity: 0.4
- info Birth Place Napoli, Italy
- visibility Views: 3 views
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image Images
movie_edit Directing
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La ragazza di plastica
1968-01-01
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Morte di Padre Pio
1971-01-01
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Il monastero di Rila
1962-01-01
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Atto senza parole
1969-12-31
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Monumenti d’Italia Ostia Antica
1955-08-01
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La frattura
1956-09-01
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Il gallo canta a mezzanotte
1958-02-01
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L' ultima faccia di Medusa
1958-10-01
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Il cancelliere Krehler
1972-03-03
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Altair
1956-02-09
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Carnevale a Ronciglione
1963-01-01
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Il Cinegiornale della pace
1963-02-01
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Lotta contro i mostri
1963-03-01
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L' uomo e la maschera
1963-11-01
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Il sogno
1966-01-01
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Il sogno
1966-01-01
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I misteri di Roma
1963-09-05
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Essere capo
1967-09-01
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Chanukkà (Festa delle luci)
1968-09-01
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Una malattia che si chiama Sud
1968-10-01
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Il ricevimento
1968-11-01
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Il ricevimento
1968-11-01
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Basilicata, una regione tra due mari
1978-05-01
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La Milano di Achille Bertarelli
1987-09-01
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L'arresto
1954-09-01
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L'arresto
1954-09-01
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Pericolo a Valsinni
1959-09-01
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Pericolo a Valsinni
1959-09-01
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La punidura
1959-10-01
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Via Tasso
1960-09-01
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Antiche città bulgare
1962-09-01
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Le rocce di Belogradčick
1962-10-01
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Il culto delle pietre
1967-01-01
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Nascita di un culto
1968-08-31
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La Madonna in cielo, la "matre" in terra
2006-01-01
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Ailano, la tradizione
2005-01-01
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Carlo Gesualdo. Notes for a film
2009-02-04
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La tana
1967-05-03
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Vajont (Natale 1963)
1964-05-15
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Un paese che frana
1964-02-04
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Tempo di raccolta
1966-02-04
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Un medico di campagna
2012-02-04
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Appunti per un film su Kafka - Nella colonia penale
2013-02-04
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Il Messia
1965-04-15
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Concerto de I Solisti di Roma, Concerti della Sera
1975-01-01
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Concerto in miniatura
1966-01-01
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Dal Foro Romano a Villa Medici
1958-01-01
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Magia Lucana
1958-01-01
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The Time of the Beginning
1974-10-15
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The Time of the Beginning
1974-10-15
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The Time of the Beginning
1974-10-15
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Nascita e morte nel meridione (S. Cataldo)
1959-07-01
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Nascita e morte nel meridione (S. Cataldo)
1959-07-01
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Landslide in Lucania
1960-01-01
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Landslide in Lucania
1960-01-01
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Grazia e numeri
1961-11-01
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Grazia e numeri
1961-11-01
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L'Annunziata
1961-10-01
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L'Annunziata
1961-10-01
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Il male di San Donato
1965-01-01
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La Madonna di Pierno
1965-01-01
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L'attaccatura
1971-01-01
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Dottori aeropittore futurista
1971-01-01
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Incubo
1966-09-01
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Grazia e morte
1971-03-06
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La Madonna del Pollino
1971-03-12
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Donne di Bagnara
1959-03-08
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Ragazze dell’avanspettacolo
1961-10-05
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Montevergine
1971-07-08
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I fujenti
1966-07-07
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Il lagno
1966-01-12
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The Power of the Spirits
1968-01-09
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Lucania Persa - Ritorno a San Cataldo
2014-08-16
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La possessione
1971-01-09
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Viaggio in Lucania
1965-01-09
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L'Apparizione
1968-06-20