Title | ROCKIN' MAMAS |
Brand | WEB MAGAZINE MAKERS |
Product/Service | ROLLING STONE ITALIA |
Category |
A05. Cinematography |
Entrant
|
VMLY&R ITALY Milan, ITALY
|
Idea Creation
|
VMLY&R ITALY Milan, ITALY
|
Media Placement
|
WEB MAGAZINE MAKERS PUBLISHER OF ROLLING STONE ITALIA Milan, ITALY
|
Production
|
MOVIE MAGIC INTERNATIONAL Milan, ITALY
|
Production 2
|
GOOD PEOPLE FILMS Cairo, EGYPT
|
Post Production
|
OPERA MUSIC Milan, ITALY
|
Credits
Francesco Andrea Poletti |
VMLYR |
Chief Creative Officer |
Nicoletta Zanterino |
VMLYR |
Creative Director |
Cinzia Caccia |
VMLYR |
Creative Director |
Riccardo Baita |
VMLYR |
Copywriter |
Cinzia Caccia |
VMLYR |
Art Director |
Lorenzo Croci |
VMLYR |
Art Director |
Barbara Ruscio-Levi |
VMLYR |
Business Development Director |
Alessandro Giberti |
Web Magazine Makers licenziatario Rolling Stone per l’Italia |
Editor-in-Chief Rolling Stone Italia |
Matteo Berciga |
Web Magazine Makers licenziatario Rolling Stone per l’Italia |
Business Development Manager |
Veronica Dolce |
Web Magazine Makers licenziatario Rolling Stone per l’Italia |
Marketing Manager |
Ali Ali |
Good People Film |
Director |
Giorgio Borghi |
Movie Magic International |
Partner/Executive Producer |
Anna Lisa De Maria |
Movie Magic International |
Executive Producer |
Sarah Touma |
Good People Film |
Executive Producer |
Alessandro Naboni |
Movie Magic International |
Producer |
Veta Chatzioannou |
Good People Film |
Producer |
Pierre Mouarkesh |
Good People Film |
DOP |
Cristiano Joyeusaz |
Operà Music |
Partner / Project Manager |
Massimiliano Peretti |
Operà Music |
Partner / Mixing Engineer / Sound Designer |
Francesco Menegat |
Operà Music |
Music Coordinator/Project Manager |
Daniela Chiara |
Operà Music |
Project Manager |
Alessandro Ciani |
Operà Music |
Composer / Music producer |
DeeLayDee DeeLayDee |
courtesy of “I'm Not A Machine” |
Voice Over Artist |
Beth Wade |
VMLYR |
Contributor |
Theresa Notartomaso |
VMLYR |
Contributor |
Write a short summary of what happens in the film
The film is an ode to the true rockstars of the year. Mothers. The ones who lifted us up, held the band together, kept the stove on fire. Day in and day out, without rest. Dinner demands, lunch and big boss pants. Zoom calls, broom calls. When the shit hit the fans all over the world, and work-life balance went tits up, they were our guiding lights, our icons, our super stars. The ones who kept the show going on. The scenes are like tableaus - frozen moments, raw, human, exposing everything: emotions, puke, ugliness, beauty. They are mothers. But they are also goddesses and warriors.
The voice over describes a day in the life of any mother. There is a parallel to the day in the life of a rockstar, waking up fully dressed in a hotel room, having to get back onto stage, performing – all night long.
Cultural / Context information for the jury
Italy was the first European country to be hard hit by COVID-19 and is among the countries that have suffered the most serious consequences from the pandemic.
In 2020 and 2021, the pandemic shut schools and work places, throwing family life into chaos with responsibility falling mostly on mothers. According to data, in fact, Italian women carry out about 70% of child care work in families and 56% of housework: the pandemic outbreak has had very serious consequences on women who have found themselves managing, basically on their own, children’s care and distance learning, remote working and home chores. All at same time, in the same place.
Tell the jury anything relevant about the cinematography.
In directing this we wanted to go for honesty above all. A genuine treatment to a genuine subject. And what is more genuine than real mothers and their kids. We listened carefully as each mother shared her story. And we captured all in photos and moving image. We went with photography as the main visual language to tell this story, and we found it appropriate since Rolling Stone is essentially a printed medium. Cinematography is very honest and, as they say in France Cinema Verite.
Nothing is polished all light is available light. Be it daylight or warm tungsten lights. We used heave head on flash photography for the stills, in order to mimic the after hours, and backstage photos of 80s rockstars. And images like those of Andy Warhol and Studio 54.