In between Bresso, Sesto San Giovanni and Milan we dive into the lives of Vash and Felce: they play music together and shoot heroin, and they share everything. Their reality sometimes is brutal, sometimes ironic, tragic and romantic. Their eternal rebellion neither has a cause, a reason nor an end. Vash and Felce grew up in Bresso, between the football pitches, graffitis, fights, public housing and occupied apartments. They have met thanks to rap music, murals and the common passions for esotericism and drugs, and they became friends despite their different life paths (Felce is in his thirties and has graduated in Architecture, Vash is younger and dropped school at 14). They record songs, play gigs, and spend time between occasional jobs and dealing. They both come from Bresso, and both share a dream of escaping from the city. They are suburban musicians with a random culture and disorganized friendships. Funeralopolis doesn’t talk about heroin. It isn’t an investigation on the effects of addiction. It doesn’t want to explain or judge or enhance the lifestyle of its protagonists. It is basically a film about two friends. Two guys in the quest to find the meaning of life, until death approaches. They’re lost in an eternal wander in a city that seems like a desert, while talking about sex and religion, doing too much drugs, singing about decay and violence, dancing between the graves in the cemetery.
Funeralopolis was carried out with the intention of closely telling the stories and the environment in which our characters live. This closeness is represented through the use of camera, this much into the action that becomes a traveling companion of the two protagonists. Vash and Felce use it as a confessional, addressing the camera as if they were in front of an audience, a crowd of screaming fans, ready to applaud at every act. The choice of describing the world in black and white is dictated by the need of non-aestheticize the images shown and their content, standardizing all the narrated moments: Vash kissing his girlfriend has the same visual weight of Vash vomiting on the street, or Felce injecting heroin. The black and white reduces the complacency of showing the blood of the wounds caused by drugs, creating distance and giving the viewer the chance to watch the events with the knowledge that are real but narrated through the cinema filter. The choice of crushing the characters into the narrow 1,66:1 reflects the discomfort of a group of guys forced into a reality where every breath is tiring, and again, as well as the black and white, it represents a method to not sensationalize the actions in the frame. It is a rare format in cinema (dominated by panoramic formats) and far from the 16:9 format of television.
Funeralopolis is mainly set in Bresso, in the suburbs of Milan. Ever since the 70s, Bresso has seen a fast and messy development. As a consequence, the social inequality is notable: it’s easy to find small flats where up to five refugees live - waiting for a better future - right next to villas worth for millions of euros. Here Vash and Felce are moving between Milan and other suburban hoods. They grew up here between the football pitches, murals, fights, public housing and occupied apartments. Both are from Bresso: citizens with the dream of escaping the city, suburban musicians with a random culture and disorganized frienships.
ALESSANDRO REDAELLI, director, shooting, editing, story editing. He has graduated in editing at I.I.SM. Dudovich and in new media at “Luchino Visconti” cinema school of Milan. He is a director and editor since 2009, he has directed and edited several short and medium-length films distributed internationally ( "Shock - My Abstraction of Death"; "Pray for Diamonds"; "POE Pieces of Eldritch") and several videoclips for the Milanese indie and hip-hop scene. He has edited several feature films, including "P.O.E. Project of Evil "and" Red Krokodil ", released in Italian cinemas. He works as a film critic with online publications including SpazioFilm and Through the Black Hole.
RUGGERO MELIS, editing, story editing, original soundtrack. He has graduated in Screenwriting at the "Luchino Visconti” School of Cinema in Milan. He is the author of TV programs (special episodes of "X- Factor 10"; "Alex & Co.", 3zero2 Disney Channel Italy). Writer and director of a web series, “La Cresta dell'Onda", that received the audience award at Rome Web Fest. Writer of short and medium-length films distributed internationally ( "Shock - My Abstraction of Death"; "Pray for Diamonds"; "P.O.E. Pieces of Eldritch"). Composer of the soundtrack for "Pray for Diamonds", "King Pest" and "La Cresta dell'Onda". Music consultant for the third season of "Alex & Co."
DANIELE FAGONE, editing, story editing, operator second unit. He has a degree in Performing Science at the University of Milan and a degree in audio-visual production at the "Luchino Visconti" School of Cinema. He is active as a producer (commercial for Acer; videoclip “La lobby dei semafori" by Dargen D'Amico, "Pray for Diamonds"; "POE Pieces of Eldritch"), assistant director (commercial for Fendi; Disney; Poltrone e Sofà; Segugio. it; Seven; Wind; Friskies, Porsche), production assistant ( "My Best Friend's Wedding", Indiana production for Sony China; MTV EMA 2015 "Top Gear Italy") and assistant director (promo X-Factor 10; " Europe Raiders ", Lotus Production for Jett One).
K48 is a production company founded in 2007 in Milan by Leone Balduzzi and Barbara Guieu. It has always been led by a strong research and experimentation in the audiovisual field, K48 produces films, documentaries, short films, commercials, and video contents relying on young Italian directors.