Vincenzo Caiazzo

Born in Naples in 1979. In 1998 he graduated as a sound technician and sound engineer at the C.P.M Music Institute in Milan. In 2001 he moved to Bologna to attend the University and in 2005 he graduated in Arts and Entertainment at the University of Bologna. In 2004 he won the competition to access the Fandango project: a direction and production workshop held by the producer Domenico Procacci, in which the directors Paolo Sorrentino, Matteo Garrone, Guido Chiesa, Emanuele Crialese, Daniele Vicari, the writer Alessandro Baricco and the producers Nicola Giuliano and Gianluca Arcopinto participated. At the end of 2005 Vincenzo made LA FONDUE, the first short film produced by Fandango, in collaboration with Sky. The short was interpreted by Cristiana Capotondi and Remo Remotti and was bought and broadcast by Sky Cinema Autore. Later Vincenzo composed the music of the documentary NICHI by Gianluca Arcopinto, released in cinemas, and winner of the Libero Bizzarri Award and of the Napoli Cultural Classic Award for best soundtrack. In 2010 Vincenzo directed the medium-length film LA CITTÀ DELLA PIOGGIA selected in numerous festivals in Italy (Visioni Italiane 2011 in Bologna, Niff in Rome, Etnaci Film Festival) and won the Special Cineclub Fiori di Fuoco award at Lecce Independent Film Festival in 2010.
In 2012 he made the short SPECCHI RIFLESSI with Domenico Balsamo, previewed at the 2013 Visioni Italiane Festival and winner of the Arci Bologna Award for films dealing with issues related to social exclusion. His first feature film, THE DIARY OF CARMELA, wins the "Ermanno Olmi" Award for Best Film at the Gallio Film Festival 2019. Vincenzo recently completed 2 documentaries: NAPLES PLAYING-LAVORARE NELLA MUSICA, about the professions in the music field, and STORIE DI JAZZ (working title) on the history of Pomigliano Jazz, produced by EWC2001 and the Pomigliano Jazz Foundation.

Director’s statement

“The story of Mileva is concentrated in a futuristic context, in which rubble and aridity have replaced nature and its fruits. Over time, man has managed to deface almost all of the life of the planet, to enclose himself in bare and abandoned territories. In this desolate climate and almost devoid of real emotions, Mileva will meet love. It will not be the usual love that we all know, but a contradictory, impetuous one, which rejects itself and does not recognize itself. Almost an upside-down journey for the two female figures: Titti is in fact walking towards the disappearance of feelings and joy. The inner devastation [...] The screenplay tries to analyze the boundary between the protagonist's reality, her daily life, and her imagination, contained in the comic and in the drawings that she creates. But this border, apparently impassable, is also overcome by the other characters in the film, who - through social media - pass from reality to what they would like to be, creating that virtual world known as "web reputation" [...] In front of this paradox, our story tries to find a parallelism. On one hand, the life between reality and fiction of the protagonist Titti, with the creation of an imaginary world in which her alter ego lives, on the other, all the characters in the film, who - in different ways - crossover reality to land in virtual worlds, created through social networks, in which to feel heroes."