Critics’ Week Winner ‘Salvo’ Hits Buyers

Salvo Cannes Fabio Grassadonia and Antonio

Mafia pic finds berth in Italy with Good Films

ROME — After winning top nods at the Cannes Critics’ Week, non-conventional Mafia thriller “Salvo,” by Italo helmers Fabio Grassadonia and Antonio Piazza, is scoring strong sales via Gaul’s Films Distribution, which has sealed deals for seven territories, including Italy, where there were fears the gender-bending pic would lack a theatrical release.

The directorial duo’s well-received first feature about a cold-blooded Palermo hitman, played by Palestinian thesp Saleh Bakri, who becomes emotionally entangled with his target’s blind younger sister, has to date been picked up by Pecadillo Pictures (U.K. and Ireland); Palace Films (Australia and New Zealand); Demiurg (Former Yugoslavia); H20 (Brazil); and the recently launched Italo shingle Good Films (Italy).

Salvo,” which was developed by the TorinoFilmLab and co-produced by Fabrizio Mosca’s Acaba Produzioni and Cristaldi Pictures with Gaul’s Mact Productions, Cite Film e ARTE France Cinema, scooped both the recent Cannes Critics’ Week Grand Prix and the Prix Revelation France 4.

Critics’ Week topper Charles Tesson in Cannes told Variety that “Salvo” symbolizes the renaissance of Italian cinema.

Still, despite its trumph, in the Italian film community there were fears the pic would never play in Italo movie theaters, where arthouse fare is increasingly struggling amid a crisis-ridden box-office climate.

After the fest, organizers of Italy’s top screenwriting prize, Premio Solinas, which “Salvo” had won, launched an appeal urging a local distributor to acquire the pic.

The last non-conventional Italo Mafia movie to screen at Cannes, and score nods, was Matteo Garrone’s 2008 global arthouse hit “Gomorrah.”

“Salvo” is neither an anti-Mafia expose like “Gomorrah” nor a heavily-referenced genre film a la Quentin Tarantino, according to Tesson.

Instead, “it mixes realism with film noir,” he said.

Launched in 2012, Good Films is a partnership between former Mikado topper Luigi Musini and Ginevra Elkann, Francesco Melzi d’Eril and Lorenzo Mieli. Its slate includes Kim Ki-duk’s 2012 Venice Golden Lion winner “Pieta.”

(John Hopewell and Elsa Keslassy contributed to this report)

Filed Under:

Want to read more articles like this one? SUBSCRIBE TO VARIETY TODAY.
Post A Comment 1

Leave a Reply

1 Comment

Comments are moderated. They may be edited for clarity and reprinting in whole or in part in Variety publications.

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

  1. C_Rock says:

    I’m so tired to read always this comments about “the renaissance of italian cinema”…Italian cinema is always been healty..surely between the 40’s and the 70’s there have been a significant number of masters… but it was a pretty unique period …and in the last 10/15 years certainly there haven’t been any lack of prizes…In Cannes this year there have been three prices….last year the golden bear at Berlin … and the gran prix at Cannes again … allover the world Italian cinema has never stoped gaining prizes..italian cinema has always been alive…stop with the cliché…

More Film News from Variety