Film Commission Torino Piemonte

What we found in the project Apache 77, written by Giovanni Aloi (already author and director of the beautiful film La troisième guerre, a powerful social cross-section of a young man just out of a French army training camp, presented at Orizzonti in 2020) together with Nicolò Galbiati and Giovanni Tetti, is an innovative mixture of ingredients that, starting from elements of social criticism, constructs a film with a western aesthetic. And it is precisely in the hybrid nature of the film that its creative originality is inherent: underneath the pressing flow of the plot and genre elements, subterranean currents move, realistically recounting a varied humanity, inspired by true stories to transcend them into a poetry of the everyday. The choice to tell the theme of migration using the codes and archetypes of genre cinema, in particular through the western, make the film, and therefore the story, not a simple social drama, but something that goes beyond and amplifies its artistic, cultural and spectacular relevance. The screenplay captures instants of contemporary reality, elaborating on true stories documented by the authors during their research (the trafficking taxi drivers, or the daring attempts of migrants to cross the border, the corruption of the police officers in charge of controlling the border), then transcending these elements into the tale of a humanity in the balance, lonely and at times desperate. The choice to transport the western to our borders marks the profound and intelligent reading that the authors give to the genre: if the western tells of a territory essentially without rules, in which the protagonists move, this same situation is found on the frontiers, spaces where laws are suspended, and the desperate search for survival begins. Apache 77 has all the characteristics to be a film with a broad international scope, capable of inserting the social issues related to migration in an original plot that reworks and rewrites the archetypes of universally recognised and loved genres, within a very ductile product that lends itself to attracting both a more refined audience, attentive to art films, and a wider audience, attracted by spectacularity and scenic action.