Credits
A Mybosswas production
A film by
Irene Dionisio
Producers
Giorgio Ferrero, Marco Quartana, Rodolfo Mongitore
Creative producer
Giorgio Ferrero
Script consultant
Ludovica Fales
Dop
Carlo Mossetti
Development direction
Margot Mecca
A feature-length documentary by
Irene Dionisio
Through the testimonies of young activists and agricultural workers from Southern Italy, who built and lived on the front lines, among others, the political path of Aboubakar Soumahoro, from his early struggles as a trade unionist to his election to Parliament, we retrace, in a kind of collective self-analysis and meta-narrative, the deep desire for representation of the “invisible”.
From the active hope surrounding the rise of an Afro-descendant MP capable of bringing the demands of the most marginalized to the fore, to the terrible media pillory experienced by that very representative, we question, through emotional testimonies and personal and public archives, the state of those who, from being “represented”, have found themselves “orphaned” of a spokesperson.
A hymn to political commitment that seeks, in the hope of the marginalized, an answer to real needs. From the demand for the most basic rights, work, health, citizenship, to the essential and inalienable right to happiness.
With the support of
Creative Europe MEDIA
Film Commission Piemonte
The film project Anatomia di un sogno begins with the desire to restore dignity to the feeling of hope. To redeem it from the aura of naivety that is often assumed to be inherent to it, and to tell it in all its complexity, so profoundly human. The feeling I am referring to is the one I encountered among the activists who built the path of one of the first Afro-descendants in the Italian Parliament, Aboubakar Soumahoro. A feeling cultivated, exalted, channeled, and ultimately destroyed. Perhaps betrayed, or simply dissipated. A “radically revolutionary” candidacy: a Black, Afro-descendant man who, from working in the fields as a laborer, became, through a brilliant path of study and commitment, a point of reference for a maximalist social and political activism.
Along this path, what I was able to encounter around him was an Italy that longs to believe in an inclusive, altruistic, supportive, egalitarian society. What happened to his political figure, metaphorically killed, is not only a harm to him personally, but a harm to an entire segment of society that believed in him. And within this dynamic, the documentary can become a necessary counter-narrative, but also the instrument of a simple question: “what remains of the hope of the most marginalized?”
