Dogman - The Film in Light

Cinema - Event posted by elena

Address: Giardino Campo di Marte, Florence

Date: Sunday 23 September 21:30 - 00:30


Sunday, September 23 at 21.30 / Dogman by Matteo Garrone

Great closing night at Light with the Cinema di Marte together with the friends of OFF Cinema. After opening the season with the acclaimed documentary on Daft Punk, this Sunday closes the curtain with the most beautiful Italian film of 2018 and not only: Dogman by Matteo Garrone.


In a periphery suspended between metropolis and wild nature, Marcello is a gentle man who after the umpteenth overpower will imagine a revenge with an unexpected outcome. The film was awarded at the Cannes Film Festival, received 9 nominations and won 7 Silver Ribbons.

Garrone performs the miracle: telling an Italy, a land of no one, detoxifying the narration from the vulgarity of the talk shows and restoring wounded dignity to the characters.


Marcello has two great loves: his daughter Alida, and the dogs that he takes care of with the sweetness of a gentle and gentle man. His grooming shop, Dogman, is incited between a "buy gold" and the billiard-video room of a suburban neighborhood at the edge of the sea, of those that more openly show the Italian degradation of the last decades. The man-symbol of that degradation is a local bully, the former boxer Simone, who intimidates, cuts and humiliates the shopkeepers of the neighborhood.

With Marcello, Simone has a symbiotic relationship like that of the shark with the pilot fish. Marcello procures to Simone that cocaine that the bully consumes in exaggerated quantities and makes for the former boxer in the second in the "collections". When Simone chooses Marcello's shop as the base for a robbery, the balance between the two will irretrievably jump.

Freely inspired by one of the most cruel news stories of our recent past, the story of Canaro della Magliana, Matteo Garrone tells an Italy that became a no-man's land in which a dog eats a dog, thanks to the cultural and social abuses that have alienated citizens not only from well-being but also from the most basic human solidarity. Garrone purifies the story of Canaro from its truly obscene component, or the spectacularization, arriving to desaturate the palette of colors with which he paints his paintings of suburban desolation (wonderful photography of Nicolaj Bruel) of which fades the margins and highlights the essence .

And the lost look of Marcello by the sea, after yet another arrogant suffered, is that of a country that has become aware of its status as a victim, and that "all this will not accept it any more". But instead of telling an insult to the Fifth Power, or the brutal and grotesque vengeance in which the news have abundantly wallowed, Garrone describes a quiet revenge entirely devoid of the pulp value that has made archetypal, and protagonist of an ante-litteram storytelling, the true Canaro.

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